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B 284217

ACTION OUTDOORS • MAKING THE MAXIM

NER • MC ON Ll(

>^ri.^-

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's V2" 'n diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.00 each.

THE NEW ACL DECALS

Similar in design and coloring to the pin, the ACL
decals are as practical as they are beautiful. Identify
your camera and projector cases, gadget bag, film
cans with this proud insignia. 21/4" by 3". $.25 each,
or 5 for $1.00.

AMATEUR CINEMA LEAGUE, INC.

420 Lexington Avenue, New York 17, N. Y.

January 1951
TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (%" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal.* But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

Wearing the ACL pin at all times will give fellow
members and others the opportunity to recognize you
immediately as a member of the world wide association
of amateur movie makers — the ACL. You, in turn, will
spot other members at home, on location, on vacations,
at club meetings, anywhere!

The pin is available in two types: the screw-back lapel
type for your suit and overcoat, and the pin-back safety
clasp type suitable for wear on your shirt, sweater, dress,
blouse, jacket, windbreaker, etc. You may order one or
both types- — $1.00 each for either pin.

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 21/4" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to .your camera and projector cases, gadget bag, film
"iaris, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

With the ACL pin and decals you can now "exhibit"
your interest in movie making, making yourself known
at a moment's notice to other League members, and hav-
ing others recognize you as a filmer with standing. I
know you'll want to place your order for pins and addi-
tional decals — right now!

Cordially,

JAMES W. MOORE
Managing Director

* P.S. ACL members of one through four years standing are entitled to
wear the silver-plated pin. ACL members of five years standing (or more)
are privileged to wear the gold-plated pin. . . . We'll send the right one!

MOVIE MAKERS

-^tf

AuAIN! Revere brings you the best in home movies • • . with

Luxury Eights

aiSutilqit'P/uceA

Here are new Revere 8mm models that give you
so much more for your movie equipment
dollar. Embodying the same fine precision

workmanship that has always distinguished
Revere products, they are years ahead in
design and features, tops in performance —
truly luxury equipment at budget prices.
See them at your dealer today. Compare them
with others and you'll readily appreciate
why Revere, more than ever, is the choice of

critical movie makers everywhere!
Revere Camera Company, Chicago

CINE EQUIPMENT

Sensational ! New ! f&BiJerG

cine-graphic EN LARGE R -V I EWER

Make beautiful

enlargements from

your 8mm or 16mm

movie film!

Now, for the first time,
you can make your own
large, exciting prints
from your color or
black-and-white
movie film — and for
just pennies each! It's
simple and great fun!
Just select the frame
to be enlarged, project
it on amazing .Gevaert
patented Diaversal
paper, and produce
rich, deep-toned prints
in about five minutes!
Utilizes any standard
8mm or 16mm camera
lens. Ideal for viewing
and editing, too!

Model E 208— for 8mm film, «4750

Model E 216— for 16mm film, $4950

Each complete with Diaversal paper and every-
thing you need for making enlargements.

8mm "B-61" MAGAZINE
Amazingly compact and easy
to handle. New type magazine
loadingis quickest and simplest
ever devised. Other standout
features include micromatic
view-finder with click stops,
and five speeds. Handsomely
designed with gleaming chrome
and leather trim.
With F2.5 coated lens, includ-
ing tax only $H250

"B-61" WITH
SWING-AWAY CASE
Handsome plastic carrying
case with handy strap. Camera
and case, complete, $U^)50

8mm "B-63"
MAGAZINE TURRET

Last word in 8mm cam-
eras! Everything you
want for advanced
movie making! Quick,
easy magazine loading,
3-lens turret versatility,
micromatic view-finder
with click stops, five
speeds, and a host of
other features. Brown
crackle finish enhanced
with chrome and leather.
With F2.8 coated lens,
including tax,
..only$14250

8mm "85" DELUXE
PROJECTOR

All new, with greater-
than-ever conven-
ience, beauty, and
value! Slip-over case
of burnished russet-
brown plastic whisks
off and on in seconds.
Two-reel storage
compartment in pro-
jector base. 500-watt
lamp, 300-ft. reel, 1-
inch F1.6 coated lens,
and case . . . $ U4^

JANUARY 1951

We have often
been asked . . .

. . . why the Auricon-Pro is the only 16 mm.
sound-on-film Camera made, regardless of
price, which operates so silently it can be
used within 10 inches of a microphone.

We have been asked how it is possible to
sell a 16 mm. "talking picture" Camera
which takes a rock-steady, in-focus picture
and records a "high-fidelity" sound track
on the same film at the same time, complete
with amplifier for $1310.00 on a 30 day
money-back guarantee and a 1 year
service guarantee.

The answer is found in 18 years of
specialized production experience with
16 mm sound-on-film equipment, plus
world wide sales. Owners and Dealers call
Auricon "the best camera value on the
market today." Also available to take
pictures without sound, if desired, for use
with the Auricon double-system Recorder.

SEND FOR
YOUR FREE COPY

OF THIS
AURICON CATALOG

BERNDT-BACH,Inc.

7383 Beverly Blvd., Los Angeles 36, Calif.

MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

January
1951

Closeups What filmers ore doing 5

The reader writes 6

New ACL members 8

Getting "The Gannets" Warren A. Levett, ACL 9

Behind-the-lens filters Herman E. Dow, ACL 1 1

Look at your lighting! Photographs by Leo J. Heffernan, FACL 12

William L. Lucas 14

John E. C/osson 15

Frances Oakes Baldwin 16

Aids for your filming 20

William A. Thomas, ACL 21

Mar/one Riddell 22

Reports on products 24

New 8mm. and 16mm. films 27

People, plans and programs 28

Editorial 34

Winter projects

A titling tell-all

Skiing calls your camera

The clinic

Starring Miss Kitty

Welcome to Tucson

News of the industry

The facts about lens bubbles

Late releases

Clubs

Experience isn't everything

Cover photograph by Ken Davis

DON CHARBONNEAU
Consultant Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

ANNE YOUNG
Production Editor

Vol. 26, No. 1. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc , $2.00 a year, postpaid; single copies 25fi (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, ,?927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Ccpyright,
1951 by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

CloseupS— What filmers are doing

AUGUST BARTHOLET, ACL, of Forth Worth, sur-
veys the region for a good movie shot while
on vacation at Paradise Ranch, in Colorado.

YV E were most pleasantly surprised by
the holiday greetings sent us from
Italy's leading amateur cinema organi-
zation, I.C.A.L. Milano. Achille de
Francesco, ACL, in the name of the
club, sent us via airmail a panettone
by way of wishing us a Merry Christ-
mas. For the benefit of the uninitiated
(which up until now included this
writer), a panettone is an Italian holi-
day cake-bread, made in an enormous
loaf measuring, roughly, fifteen inches
in height and ten inches in diameter.
It was delicious and added a gay and
different note to our Christmas cele-
brations.

Across the Threshold: Back from
Mexico. Ten Best winner Esther Cooke.
ACL (of Albany, N. Y., when she stays
home ) . called on us to say she had
more exciting material to fill out her
Nextdoor Neighbor, the prize film . . .
B. C. Scherzinger, ACL, on one of his
frequent business jaunts to New York
City, stopped by to tell us of the civil-
ian defense films planned for produc-
tion by the Cincinnati Movie Club, of
which he is vicepresident . . . Grace
Lindner. ACL, one of last year's Hon-

orable Mention winners, came in from
Kenmore. N. Y.. with an entertaining
reel of random 8mm. footage tied to-
gether cleverly with popular song
themes, old and new.

George Handwerck, ACL. from
Miami, was interested in tips on film-
ing our sprawling metropolis . . . Peter
S. Bezek, a member of the Chicago
Cinema Club, ACL, spent a few min-
utes with us detailing the club's plans
for the coming year . . . C. H. 0. Wea-
vind, an officer of the Amateur Cine
Club. ACL, of Johannesburg, in South
Africa, on a flying business trip to this
country, took time out between planes
to meet us and extend personal greet-
ings from the Jo'burg group.

Also George Bell and Austin Riggs,
ACL, brought in their films of mountain
climbing in Peru, the mountain they
selected for their climb being Yerupaja,
second highest in that country at 21.-
760 feet. We were properly impressed
and made a mental note to give up our
idea of trying this sport one day.

Southern exposing at Hollywood. Fla.,
are George Merz, ACL, and Mrs. Merz,
of Clifton. N. J., while down the coast
a few miles at Miami are George Mes-
aros, FACL, and Mrs. Mesaros. of Long
Beach. N. Y. Also wintering in Florida
are B. T. Behrens, ACL, and his missus,
from Asheville, N. C. . . . Ralph E.
Gray, FACL, has parked his trailer
for the winter at Phoenix. Ariz., with
Fred C. Ells. FACL. another trailerite.
choosing Santa Monica, Calif., for the
cold months.

Latest release by the Motion Picture
Bureau of the New York Central Sys-
tem is the film. It's A Deal, running
twenty minutes of monochrome sound
on film. Frederick G. Beach, FACL,
formerly technical editor of Movie
Makers, is supervisor of the Bureau.
It's A Deal dramatizes the damage

which can result from improper han-
dling of high class freight; a special
car equipped as a traveling theatre will
present the picture to freight-handling
personnel of the N.Y.C. system.

Movie Makers announces with sincere
regret the death on December 9. 1950,
of Joseph M. Bing. of New York City.
A Charter Member of the Amateur
Cinema League, Mr. Bing was an out-
standing figure in the field of still pho-
tography, where his honors included
Honorary Fellowship in both the Royal
Photographic Society and the Photo-
graphic Society of America.

MRS. JOHN BRUCE, ACL, of New York City,
models the traditional pose of African hunters.

Mrs. John Bruce, ACL. of New York
City, is off again to East Africa, tak-
ing with her the edited film shot there
last year. She is interested this time
in obtaining material needed to fill in
the gaps created by a jammed camera
last time. We shall look forward to see-
ing more of this colorful and fascinat-
ing scene.

I T is now our pleasure and privilege
to extend, on behalf of the entire ACL
staff, our warm appreciation for the
many holiday greetings and remem-
brances received during the Christmas
season. We wish all of you a reward-
ing and peaceful 1951.

AN ANNUAL EVENT for A. Theo Roth, ACL, of San Francisco, is his movie
party for the neighborhood kiddies during the Christmas holidays.

JEAN F. SCHWEIZER, a member of the Vailsburg Cine Club, near Irving-
ton, N. J., demonstrates Father's-Dream-Come-True on Christmas morn.

JANUARY 1951

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

A new six element high quality lens for the 16 and
35 mm film camera. Corrected for all aberration at
full opening, giving highest definition in black-&-
white and color. Made by skilled technicians with
many years of optical training.

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 1 6 nun cameras.
Fitting to other cameras upon special order.

Sizes available now : 35
and 75 mm coated.

■id 50 mm tin coated

Write for prices, giving your dealer's name.

2=££ GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM-1

cmswoLv

FILM SPLICERS

for every size and type of film,
sound and silent, perforated and
non-perforated, write for details

GRISWOLD MACHINE WORKS

Dep't A, Port Jefferson, N. Y.

STOP APOLOGIZING FOR
YOUR MOVIE TITLES

Write today for a FKEE A-to-Z Sample Title Teat
Kit. Make titles that are different . . . better and
tailored to your taste. Try our method . . . FREE.
COMPLETE COLOR OR B.&.W. OUTFIT $6.50

A-to-Z MOVIE ACCESSORIES

175 Filth Avenue Dept. M New York 10. N. Y.

Safeguard your

Film. Ship in

FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

OVERWHELMED

Dear Mr. Moore: Your letter of No-
vember 29 was waiting for me on my
return to Hartford from the West Coast
yesterday. I can assure you that I am
overwhelmed by the honor you have be-
stowed on my film. The Gannets.

Your earlier mysterious letters had
really kept me awake nights, since they
indicated which way the wind might be
blowing. But I had not dared to hope
that this particular film would win the
coveted Hiram Percy Maxim Memorial
Award.

I wish to extend to you and the other
members of your staff my most sincere
thanks and appreciation for the consid-
eration you have given my work.

Warren A. Levett, ACL
West Hartford. Conn.

DELIGHTED

Dear ACL: It goes without saying that
Mrs. Turner and I were delighted that
The Barrier won a place among the Ten
Best Amateur Films of 1950. The award
leader arrived today. It looks fine and
seems a most appropriate form of recog-
nition. Glen H. Turner, ACL
Springville, Utah

GREATEST PLEASURE

Gentlemen: Your communication of
this week advising me that my film.
Circus Time, has been honored by be-
ing selected as a Ten Best winner has
afforded me the greatest pleasure and
joy. To all of you on the ACL staff my
many thanks for awarding me this great
honor. George Merz, ACL

Clifton. N. J.

VERY HAPPY

Dear Friends: I have just received your
letter informing me of the Ten Best
awards for 1950, and I am very happy
that my film. Green River Expedition,
was counted "in." Please send me some
extra December magazines as soon as
they are off the press.

Al Morton. FACL
Salt Lake City, Utah

AMAZED

Dear Mr. Moore: I am amazed and
delighted to know that Albany's Tulip
Festival was chosen as one of the Ten
Best Amateur Films of 1950. I am still

breathless to think that a film of mine
has won such distinction.

Aware that success is to be borne
humbly, I shall, nevertheless, try to live
up to the high standards set by the
League. I hope that I shall be able to
share with others the knowledge I have
gained from past winners of your
coveted awards. Helen C. Welsh, ACL
Albany, N. Y.

THRILLED

Dear ACL: I was thrilled beyond words
when I received the notification that my
Hands Around the Clock was selected
as one of the Ten Best Amateur Films
of 1950. The new certificate is very im-
pressive and the color leader is excel-
lent. Congratulations on the fine thought
behind both of them.

Bill Messner. ACL
Teaneck, N. J.

VERY PLEASED

Gentlemen: Delores and I were cer-
tainly surprised and very pleased to
receive a Ten Best certificate for our
film. Isle of the Dead, in your 1950 Ten
Best contest.

We are also very happy with the Ten
Best color leader. In fact, we spliced it
into our film the day we received it and
have been especially proud to show the
film ever since.

Timothy M. Lawler. Jr.. ACL
Kenosha. Wise.

ATTAINMENT

Dear Sirs: It was a thrill to receive
your letter about my attainment in hav-
ing been selected as one of the Ten Best
with my picture. Seminole Indians.
Many thanks to the Amateur Cinema
League for their helpfulness and en-
couragement to the sincere movie maker.
Elmer W. Albinson, ACL
Minneapolis, Minn.

GREATLY PLEASED

Gentlemen: Mrs. Heise and I were
greatly pleased and even more surprised
to receive Honorable Mention for our
film. Caravan to Guatemala. We proudly
displayed our new leader when we
showed our picture recently before the
Amateur Movie Society of Milwaukee.
ACL. We also are very grateful for the
beautiful certificate.

Dr. Herman A. Heise, ACL
Milwaukee, Wise.

APPRECIATION

Dear Sirs: We wish to express our
pleasure and appreciation for the honor
which the Amateur Cinema League has

MOVIE MAKERS

bestowed upon us by placing Paddle Up
Front! in the Honorable Mention class
in connection with the Ten Best Ama-
teur Films of 1950. The entire student
body is pleased with our success in
being cited for this achievement.
Ellis A. Ring
Audio Visual Education
Springfield College
Springfield, Mass.

WONDERFUL

Dear Movie Makers: It was wonderful
seeing a picture of my home in the ACL
magazine, and your write-up of Bless
This House is a prize I shall always
keep. Grace Lindner, ACL

Kenmore, N. Y.

GRATIFYING

Dear ACL: It was indeed gratifying to
learn that my film was selected by
Movie Makers for Honorable Mention
in the Ten Best contest of 1950. At this
time, I would like to give credit to cast
members Al Londema and Bill Langton,
ACL, who worked so unselfishly with
me during the filming of / Walked a
Crooked Trail. 0. L. Tapp, ACL

Salt Lake City, Utah

LEADERS FOR PAST FILMS?

Dear Mr. Moore: I was, of course, de-
lighted to receive your letter about my
circus picture winning a Ten Best place
in 1950. Also, the new award leader is
mighty fine.

In this connection, would it be pos-
sible for you to make similar leaders
for me. bearing the dates 1944. 1947 and
1948, for my Ten Best and Honorable
Mention winners of those years? Natu-
rally, I would expect to pay you for
them. Oscar H. Horovitz. ACL

Newton. Mass.

Yes, we can do so. Through the fore-
sight of the League's Technical Director,
we are in a position to supply exactly
similar Maxim Award, Ten Best or Hon-
orable Mention award leaders, 8mm. or
16mm., for any past year that winners
desire.

These leaders, however, must be made
on special order, and the success of the
undertaking will depend on the volume
of orders we receive from past winners.
Costs will be $1.00 for the 8mm. size,
$1.50 for the 16mm., and in Kodachrome,
of course. If, as a previous award winner,
you are interested, let us hear from you.

NO FILMING FROM TRAINS

Dear ACL: Recently, while coming
across New York State on a New York
Central train. I was questioned by an
FBI agent for shooting movies out of
the train window along the route of the
Barge Canal.

Cautioning me not to take any more
such pictures, the agent stated that
photography from train windows was
prohibited but that there has been no
public announcement of the ruling.

I thought that this incident, obviously
resulting from our country going on a

war footing, was worth reporting to the
Amateur Cinema League.

William Wessel, ACL
Bronxville, N. Y.

Thank you very much, Mr. Wessel. The
ACL has inquired into this incident with
responsible officials of the New York
Central Railroad, and we have received
from them the following information:

The New York Central has received no
notice from any Washington source of
such a federal prohibition. However, they
say, all railroads today are discouraging
picture taking either from their trains
or on railroad property — which they have
every right to do if they think best.
Specifically, all of NYC's train personnel
and their line's roving railroad police
have been charged with enforcing this
purely company decision. The Federal
Bureau of Investigation, says Central, is
not involved.

The ACL, in the light of this report,
urges its members to employ mature judg-
ment and circumspection in their future
filming.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

EXCHANGE CLUB BULLETINS

Dear Movie Makers: We members of
the Wanganui Amateur Cine Society
would like to exchange our club bul-
letin for any others published by ama-
teur movie clubs in the United States
or overseas.

T. Ruscoe
Librarian
Wanganui Amateur Cine Society
15 Mawae Street
Wanganui, New Zealand

MELBOURNE FOR USA

Dear Sirs: I am anxious to obtain good
original 8mm. Kodachrome footage of
Honolulu, San Francisco and New York
City, in exchange either for raw film or
equal Kodachrome footage of Mel-
bourne and environs, taken from a
tripod. Please write me airmail.

Noel R. Abrecht
294-298 Little Collins Street
Melbourne, Australia

BRAZIL IN 16MM.

Dear Fellow Filmers: I am interested
in swapping 35mm. color slides and
16mm. color movies of Brazilian sub-
jects for scenes in your country. Let me
hear from you — air mail, please.

Francisco Silva, Jr., ACL
Caixa 251-B
Sao Paulo. Brazil, South America

COMMONWEALTH

Announces
THREE New Additions

to the

Edward Small Group
Now making |Q in all

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I For Rentals Communicate !
with your leading
j|P I6MM. FILM LIBRARY \

EXCLUSIVE I 6 MM DISTRIBUTORS

COMMONWEALTH PICTURES

CORP.

723 Seventh Avenue. New York 19, NY.

JANUARY 1951

Visual Education Department, Pawtucket,

R. I.
Austen Fox Riggs, II, Cambridge, Mass.
W. G. Robinson, Logan, W . Va.

F. A. Turner, Portland, Ore.
Harry D. Brown, Los Angeles, Calif.
Dr. William B. Gnagi, Monroe, Wise.
Larry E. Miller, San Jose, Calif.

H. M. Phillips, San Angelo, Texas

Jerome Brown, Bergenfield, N. J.
Laio Martins Filho, Sao Paulo, Brazil
Raymond W. House, Norwalk, Calif.

C. A. Kimball, Cumberland, Md.
Marien A. Peterson, Davenport, Iowa
Harold S. Randall, Rutherford, N. J.
Abbott Robinson, Sheffield, Mass.
Aubrey A. Ross, Orlando, Fla.

Luiz G. Schleiniger, RGSul, Brazil

G. M. Scott, Los Angeles, Calif.
Mervin Fleisher, New York City

Marcel Gandibleu, Elisabethville, Belgian

Congo
Rev. Cyprian Sondej, Auburn, N. Y.
J. H. Dickey, Seattle, Wash.
Charles A. Freeman, jr.. River Forest, III.
H. E. Mangram Tulsa, Okla.
Minoo Parekh, Bombay, India
James Spencer Elliott, Montreal, Canada
Emil Charles Fitzpatrick, New York City

D. H. Stewart, Hong Kong

IN FILMING ON SNOW you can
avoid having the tripod tips sink down
by mounting them on ski-pole rings or
small pieces of plywood.

George L. Beyers, Port Smith, Ark.
Jack Greenberg, Philadelphia, Pa.
Gerdie Holzman, Cleveland, Ohio
Engelbert E. Sercu, Rochester, N. Y.
Dr. Leon Tempkin, Brooklyn, N. Y.
W. Vendeville, San Francisco, Calif.
Mr. & Mrs. Ralph A. Behr. Denver, Colo.
Joseph Mayerschoff, Philadelphia, Pa.
Geo. W. Thompson, Chicago, III.
Dr. E. J. Chapman, Asheville, N. C.
A. L. Clark, jr.. Port Neches, Texas
Robert Coulombe, San Francisco, Calif.
Plainfield Cinema League, Plainfield, N. J.

0. R. Powell, Asheville, N. C.

Dr. Robert Schell, Swannanoa, N. C.

Dr. Henri I. Berlowe, White Plains, N. Y.

Mrs. M. 0. Carmichael. Klamath Falls, Ore.

Norbert Ruhland, Ottawa. III.

Lawrence Iwamoto, Honolulu, T. H.

Madison Movie Club, Madison, Wise.

Ethyl M. Peasgood, Bethel, Alaska

German L. Vazquez, Madrid, Spain

Paul Zrichuk, Toronto, Canada

Ralph Albee, Watsonville, Calif.

Mrs. Edith K. Combes, Sheffield, Mass.

Amateur Cinema Club of Buffalo, Buffalo,
N. Y.

Lawrence H. Moore, Salt Lake City, Utah

CWO Kenneth E. Roberson, do PM. New
York City

Cinema — 16 — Club, Omaha, Neb.

N. P. Hariharan, Jagathy, India

John Heitman, Park Ridge, N. J.

Anne M. Evans, Pleasantville, N. Y.

Ellis Krohn, Oneonta, N. Y.

Mrs. Andrew Winton Roth, New York City

Gene Arneson, Kenosha, Wise.

Modestino Deloy Gibbon, Asuncion, Para-
guay

Prud°ncio Llach Hijo, Santiago de Maria,
El Salvador

Capt. R. W. Orrell, Cardinal, Va.

Ronald Flint, Johannesburg, South Africa

Dr. W. J. Huddleston, Denver, Colo.
Kenneth F. Klein, Los Angeles, Calif.
Angus P. Mclntyre, New York City
D. B. Morrison, White Plains, N. Y.
John J. Rice, Wilkes Barre, Pa.
George Sherman, Gloversville, N. Y.
W. H. Boxman. Narberth, Pa.
Charles W. Gabler, Los Angeles, Calif.
Fred A. Gabler, Van Nuys, Calif.

A warm welcome is extended to all of the new
ACL members listed below. They have been
elected to and joined the League since our last
publication. The League will be glad to forward
letters between members which are sent to us
with a covering note requesting such service.

J. S. Morgan, San Angelo, Texas
Blaney B. Blay, Elgin, III.
Francis X. Dalton, Cincinnati, Ohio
Pelham Camera Club, New York City
Fred W. Pembleton, Fort Wayne, Ind.
James Pol'ak, Brooklyn, N. Y.
Edward Seltzer, New York City
Louis D. Knowks, Washington, D. C.
A. H. Lochner, University Park, Md.

Springfield College, Springfield, Mass.

R. E. Vetter, Calvary, Wise.

Cpl. Harrison W. Gaston, San Francisco,

Calif.
L. E. Houston. Toronto, Canada
Dr. J. Vernon Scott, Los Angeles, Calif.
E. A. Chamberlain, Detroit. Mich.
Robert Victor Hindmarsh, Whitby, England
Mrs. J. R. Lofgren, B/oomfield, Iowa
Percy Hulbert, Manchester, Conn.
Frank Repash, Allentoum, Pa.
Cape Town Photographic Society, Cape

Town, South Africa
Willy Hald, New York City

Tjon-A-Tjoe Frederik Hendrik, Willemstad.
N.W.I.

Earl L. Kochenderfer. Boston, Mass.

J. Ashby Miller. Louisville, Ky.

Dr. H. M. Tymvios, Nicosia, Cyprus

Armand F. Cole, Washington. D. C.

W. Godsell, Washington, D. C.

W. J. Doherty, Briarcliff Manor, N. Y,

John Galloway, Calgary, Canada

Nils Sandstrom. Brooklyn, N. Y.

Harry A. Shapiro, Montreal, Canada

George Planje, jr., c/o FPO. San Fran-
cisco, Calif.

E. G. Brown, Toronto, Canada

W. W. Cherry, Toronto, Canada

William E. Gregory, Birmingham, Ala.

Alphonse M. L. Paolantonio. Johnston, R. I.

Harvey Weinstock, New York City

FAMOUS MOTION PICTURES of
the early days in film history are being
added to the study collection at George
Eastman House, the world photographic
center in Rochester, N. Y.

Dr. M. Neal Benjamin, Barbourville, Ky.
Mrs. A. J. Castillo, Portland, Ore.
A. Weir Eckenswiller, Weston, Canada
Franklin County Camera Club, Greenfield,

Mass.
Jack E. Gieck. Detroit, Mich.
Edward V. McKenna, Maiden, Mass.
Earl 0. Price, Lakeport, Calif.
Halbert F. Speer, Neiv York City
E. M. Tyler, Washington, D. C.

Ivan Clyde Collins, LaPorte, Ind.

John E. Clardy, Tucumcari, N. M.

Col. Edwin E. Hebb, Detroit, Mich.

Radio-TV Office, Iowa State Teachers Col-
lege, Cedar FaUs, Iowa

Dr. Donald E. Moore, Decorah. Iowa

SFC Ralph B. Gordner, c/o PM. San Fran-
cisco, Calif.

Robert W. Kruger, Jersey City, N. J.

Oscar Perlberger, New York. City

William Rizzo, Chicago, III.

Oscar L. Van Horn, Newark, N. J.

James L. Howard. Denver, Colo.

Victor Kaufman. Hamilton, Canada

Parkchester Cinema Club, New York City

Noel R. Abrecht, Camberwell, Australia

Leonard Chertok, New York City

Mrs. Mildred Cooper, Hollywood, Calif.

Anton Kroft, Chicago, HI.

Edwin John Robinson, Belleville, N. J.

Ira D. Staggs, Baker, Ore.

John I. Stroud, Moorestown, N. J.

John E. Brecht, Cincinnati, Ohio
J. B. Dalton, Abilene, Texas
Hal H. Harrison, Tarentum, Pa.
John C. Pertgen, Chicago, III.
Roger H. Rosen, Denver, Colo.
Dr. S. L Siegler, Brooklyn, N. Y.
H. M. Alarid, Gabbs, Nev.
Irwin M. Auerbach, Brooklyn, N. Y.
Hon. J. D. Begin, Dorchester, Canada
V. J. Penso, Cape Town, South Africa
Kenneth S. Redford, Harrison, N. Y.
Dr. A. Richler, Montreal, Canada
Louis Roberts, Long Island City, N. Y.
Ormal I. Sprungman. San Diego, Calif.

IN COLD WEATHER when your
camera is taken indoors, vapor condensa-
tion forms on the lens. This dampness
should be removed with lens tissue or
allowed to dry off before using the
camera.

Howard Branston, Brooklyn, N. Y.

Arthur G. Schoenlaub, Hasbrouck Heights,

N.J.
Richard Gutmann, New York City
John Yurchak, Philadelphia, Pa.
Margaret Ketchum. Detroit, Mich.
Robert E. Rice, Duncan, Okla.
William Zucconi, Red Bank, N. J.
Landsforbundet Danmarks Filmamatorer,

Kobenhavn, Denmark
W. M. Reese, Smethport, Pa.
Otto J. Slatinsky, Chicago, III.
Charles R. Smith, Dayton, Ohio

Richard R. Bard, sr., Perry, Iowa

Robert J. Durr, South Bend, Ind.

Ernesto Fink, Mexico, D. F.

W. E. Fraley, Abilene, Texas

Lloyd H. Henry, Keokuk, Iowa

Abe Reisberg, Brooklyn, N. Y.

Phillipp G. Malmberg, Daytona Beach, Fla

Lewis C. Wollaston, Alliance, Neb.

Denman Cadden, Ecorse, Mich.

Tom Camarco, Hartford, Conn.

Raymond S. Carter, Melbourne, Australia

Leo Cogan, Montreal, Canada

Richard K. Dean, Glens Falls, N. Y.

Jack J. Fanburg, Oakland. Calii.

John F. Fay, Forest Hills, N. Y.

Guy S. Howell, Allen Park, Mich.

Robert Howell, River Rouge, Mich.

Perrin Husted, Brooklyn, N. Y.
Nicholas S. Kalapos, Detroit. Mich.
Stanley R. Kelley, Portland, Ore.
Harry Meade, New York City
Omaha Movie Club, Omaha, Neb.
Edward O'Neil, Havre, Mont.
Jackson B. Pokress, New York City
August P. Rossi, Taylor Center, Mich.
George A. Stacey, Allen Park, Mich.
Mitz Stramake, Ecorse, Mich.

John M. Vollmerhausen, Allen Park, Mich.

Marcus J. Ware, Lewiston, Idaho

George R. Bennett, Buffalo, N. Y.

Dr. Alvin A. Goldhush, Bay Shore, N. Y.

Jack Klein, Trenton, N. J.

Yale Robert Burge, New York City

Dr. Raymond H. Dix, Detroit, Mich.

Pedro A. Sifre Franco, Rio Piedras,

Puerto Rico
Harry J. Frederick, Pittsburgh, Pa.
George B. Guthrie, jr., Bartlesville, Okla.
F. T. Lindquist, Chicago, III.
Charles H. Lowry, D.D.S., Logansport, Ind.
Leslie J. Mahoney, Phoenix, Ariz.
Dr. A. C. Clarke Mills, Weston, Canada
Murray L. Pallas. New York City
Henry Wandler, New York City

GETTING

"THE GANNETS

Illustrations by Warren A. I.evett, ACL

Patience, planning and a sense of humor were
key components of 1950's Maxim Award winner

WARREN A. LEVETT, ACL

LOOKING back on it now, I suppose that my picture, The
Gannets, had its true beginnings somewhere about
1946. I had been invited to a meeting of the Hartford
(Conn.) Cinema Club, that annual December meeting at
which the Maxim Memorial Award winner for the year was
shown. That started it, I'm sure.

But don't get me wrong. I'm definitely not trying to sug-
gest that I promised myself that very evening that "someday
I too would achieve that august honor." Far from it. All I
can honestly claim is that the evening's screening opened
my cinematic eyes. I began to look beyond record shots of
the family and aimlessly unorganized vacation reels. I began
to realize that the dough of technical competence must be
leavened with the yeast of creative imagination, if ever it was
to rise above the daily loaf of bread. Put more directly, I was
getting itchy with ideas. About then, a used Cine-Kodak
Special crossed my path with a beckoning price tag. I grabbed
it up and felt I was ready for the Big Effort.

FIRST VISIT IN 1947

But where to go? Well, the Gaspe Peninsula of Canada
had always intrigued our family, so vacation time in 1947
found us touring that fascinating section. I shot sequences
of the usual stuff, I suppose : farming, fishing, the little gray
villages and the like. But as with all tourists, we gravitated
inevitably to the pull of Perce and Bonaventure Island.
There the fabulous, flapping gannet colony on the island
proved of absorbing interest, and much more film was ex-
posed than the lighting conditions warranted. But, in spite
of rain and fog, enough usable footage was secured to put
together an organized picture of sorts called Le Gaspe.
Locally, it enjoyed a modest success. When, in 1948, I sub-
mitted it in the ACL Ten Best contest, the picture got no-
where.

BACK AGAIN IN 1949
But the gannets just wouldn't let me go. I had to return
again. So. in 1949, we were again headed north, but this
time with a single definite purpose in mind. Gaspe was out;
this picture was to be all gannets. But, obviously, any film on
just one subject had to be relatively short, unconditionally
interesting and, if possible, quite a little bit humorous.
Neither of the latter two conditions worried me. I knew from
experience that these great, overgrown "gulls" were always
interesting and at times ludicrously funny. The unanswered
question was whether I would be able to bring back these
qualities on film.

TECHNICAL PREPARATIONS

Leaving as little to chance as possible, I provided myself

with a wide angle, 1, 2%, 4 and 6 inch lenses, all coated and

all in the Cine-Kodak mount. Knowing from past experience

that it is impossible to follow a fast-flying bird with a tripod-

BONAVENTURE ISLAND, above, with Perce Rock in the background,
was setting of The Gannets, Maxim Award winner for 1950. Producer's
family play with tame growing birds, while at bottom (right of cen-
ter foreground) can be seen the feeding routine described by author.

SIZE AND SCALE of
are suggested by still
host family, holding

mounted camera, I hacked out from
plywood a crude gunstock mount; it
was to prove immensely valuable.
The lettering of the main title, credit
title and end title was prepared in
advance and taken along to be filmed
on live action backgrounds. For the
body of the film, I felt that subtitles
were out; they would slow the pic-
ture's pace too greatly. A wire-re-
corded narrative and music seemed
to be the answer; but at this time the
final form of the narrative was still
undecided.

EXPOSURE FOR KODACHROME

Looking over my 1947 film, I
finally decided (despite advice to the
contrary) to take no pictures unless
there was a bright sun. Normally, in
Gaspesia, this often is equivalent to a
decision to take no pictures — period.
But adult gannets are pure white and, in flight, should be
filmed against the deep blue sky. Secondly, for flight
scenes in slow motion, the maximum possible depth of
focus would be needed when using telephoto lenses. And
finally, a uniform light condition would greatly simplify
the problem of exposure.

I finally settled on //ll as the basic aperture for front
or side lighted scenes at 16 fps camera speed. Actually, I
extended this to cover gannets flying almost directly over-
head, where they were back lighted. For, don't forget, the
sun will shine right through the white, extended wing
feathers. After processing, this exposure standard was
found to be correct save under one condition. With the
clear sun directly behind the camera, the gannets were
slightly overexposed. This suggests an aperture halfway
between //ll and //16 for the fully front-lighted
plumage; but if it were used both the background and the
sky would be too dark. Therefore, the ideal exposure
standard seems to be //ll under side lighting only.

WE LIVED ON THE ISLAND

With these preparations and decisions made, we were
ready for the field. Being old Gaspesian travelers by this
time, we frowned upon the mainland tourist accommoda-
tions and, instead, lodged ourselves with a fine old
English family — the Arthur Majors — living directly on
Bonaventure Island. Here we received board and room,
boat rides and help in carrying our camera gear — all for
a very modest sum. And when I mention help in toting
the cameras, just consider that all of the five or six fam-
ilies who live on Bonaventure are on the west side of the
island. The gannets occupy the cliffs three miles away —
and all uphill — to the east.

In passing, it may be noted that I found an Army
knapsack the easiest way to carry the movie camera, three
or four lenses, an extra film chamber, film and the count-
less other gadgets with which we movie makers burden
ourselves. This trip up the hill was made at least once a
day for a filming session. Even when I had shot all the
film I felt was necessary, I still crossed the island just to
watch the birds. They honestly were that interesting!

FILMING FEEDING ROUTINE
Good weather favored us that trip, so that I was able to
get, in a day or two, the basic pictures showing the locale.

these powerful birds
shot of John Major, of
a full-grown gannet.

Some specific characteristics of the
birds which I wanted to show, how-
ever, presented a more difficult prob-
lem. For example, feeding the young
birds is a most interesting procedure,
in that the parents partly digest the
food, and then regurgitate as the
youngster thrusts his probing beak
far down the throat of the older bird.
Try as I would, I could not spot this
walking cafeteria in action. When
birds of this type are nesting they are
very tolerant of humans, so I did not
believe that my presence was disturb-
ing them. But for almost a week I
failed to see a single feeding opera-
tion. And then suddenly, one day, I
saw it happen. Although my camera
was not ready at that moment, I
learned how to anticipate the feeding
action, so that I could prepare for it
swiftly in the future. With this fore-
knowlege, I soon had the feeding routine on film.
Still other sequences were pure luck. Consider a shot
of the gannets diving for fish. Frequently they have to
fly 100 miles or more a day looking for such food. But I
stood on the cliff one sunny day with the camera wound,
leveled and the 6 inch lens in place. Almost without
warning a school of fish appeared a few hundred feet
from shore. Instantly the air and water were filled with
whirling, diving gannets; then, within thirty seconds, the
fish were gone. But I had the scene recorded!

THE BIRDS BOW OUT
Obtaining the final scene for the film required the most
patience, but afforded the greatest pleasure of achieve-
ment. Courtship ritual requires that loving gannets bow
to each other. When one bird has been away, if only for
a little time, he and his mate go into an animated bowing
routine on being reunited. To get two lovers bowing was
easy; but to find an absent minded gent, bowing to no
one in particular was the design. Further, he had to be at
the cliff's edge, so that the dark water served as a back-
ground. After innumerable false alarms, one such charac-
ter was found, and he performed to perfection. The film
now concludes — rather uproariously, it seems — with him
bowing pompously as The End fades in over his head,
and the narrative voice intoning: "Thenk yuhl Thenk yuh
very much!"

NOW FOR THE NARRATIVE

Editing was relatively easy, with about 450 of 750 feet
shot going into The Gannets and some 100 feet being dis-
carded as below par. But the narration now began to
plague me. Merely commenting impersonally about the
gannets did not appear to be the answer, for previous
experience with that method had shown its danger of
becoming dull. Completion was delayed while a solution
was sought. And then I saw the light — I would put the
narration into the mouth of a gannet! After that there
was no trouble. For, by impersonating a gannet, I could
poke fun at the photographer himself and, of equal
importance, retain in the film certain scenes difficult to
include in any other way. There were, finally, numerous
opportunities for humorous byplays — as in the ending
cited above.

The musical background was [Continued on page 33]

BEHIND-THE-LENS FILTERS

A reader sums up his simple system of cutting and using thin gelatin niters

HERMAN E. DOW, ACL

Aperture Jl*

•Shutter

FIG. 1: Design of turret
positioning of filter by

I HAVE followed with great interest
the suggestions on behind-the-lens
filtering presented by Homer E.
Carrico, ACL. and Ernst Wildi, ACL,
in The Clinic for October and Decem-
ber, respectively.

Every movie maker with more than
one lens faces this same problem —
the multiplicity of filters necessary to
provide a complete set for lenses of
different diameters. After lugging
around for years a small satchelful
of assorted filters and filter holders, I
too decided that behind-the-lens place-
ment was the answer. Here's the way
I worked it out, using only the thin gelatin filters.

My cameras were (and still are) the Filmo 70-DA
and the Filmo 153-B, both 16mm. This combination of
cameras gave me a turret type and a single lens type
with which to experiment. I found that with both of
them there was enough room between the rear of the
lens barrel and the camera aperture to permit the inser-
tion of a thin, lacquered gelatin filter. Whether this will
be true with 8mm. cameras and other makes of Sixteens
I am not in a position to say. But it is easy to determine.
And it is certainly worth investigating.

With the turret-type camera there is every likelihood
that enough room for the filter will exist, because of
the necessity of designing the camera front to accept
the turret mount. Indication of this will be seen in Fig.
1, diagraming the construction of a typical turret lens
mount. With a single lens camera there is less surety of
adequate room, but it can be checked easily.

Begin by unscrewing the lens from its threaded mount.
Now measure the length of the lens barrel from its outer-
most thread to the extreme inner end of the barrel. A
similar measurement should then be made from the front
of the lens seat to the film aperture. Obviously, if the
threaded length of the lens barrel equals the second
measurement, there is not room for the filter as is. Any
insertion under these circumstances would throw the lens
out of focus. However, it is often possible in such cases
to grind away the threaded portion of the lens barrel
enough to create filter room. I have done this already
to one of my lenses so that it might be used on the turret
camera without rubbing against the camera face.

Assuming, then, that there is room in your camera

Lens 5ep\i

Filter

^./Turret

front camera and
friction are above.

Lens Sert

Filter

Aperture

.Shutter

FIG. 2: Simplicity of single lens camera de-
sign permits holding filter with lens barrel.

APERTURE

Notch

to insert a gelatin filter, the next step is to create a filter
unit of the correct diameter. With the turret front camera,
this diameter should be just slightly larger than the
circular opening in which it will fit. For, the snugness
of this fit will be the only force holding the filter in
place. It is recommended, therefore, that the diameter
of the filter be .002 to .004 of an inch larger than the
diameter of the opening. With the single lens camera,
this oversizing is not necessary, since the rear end of
the lens will hold the filter in place. See Fig. 2.

Having determined the correct diameter of the filter
for my cameras (one size worked for both), I then
ground out a hollow punch with which to stamp out the
filter discs. Creation of a punch of this sort is desirable,
since it assures that all filter discs cut by it will be of
the correct and uniform size. The inside diameter of the
punch was arrived at simply by trial and error.

In use, the punch should be employed as follows : place
a 2 inch square of gelatin filter, still in the protecting
paper in which it comes, on a flat piece of hard wood.
Position the punch on the filter square (I can cut four
filter discs from the 2 inch piece), place another piece
of wood on top of the punch, and then strike the wood
sharply and squarely with a hammer. Properly done,
one blow of the hammer will cut the filter cleanly.

The filter disc will now be lodged in the bottom end
of the hollow punch. It may be removed from the punch
by gentle pressure of the blunt end of the special tweezers,
brought to bear only along the edge areas of the filter
which will not be in front of the camera aperture. In
fact, all handling of these gelatin filters should be done
with the tweezers only. [Continued on page 33]

IED

CENTRAL PORTION only of filter covers camera aper-
ture, so it can be tweezered on edges and in notch.

HOLLOW PUNCH of exact diameter desired
is helpful accessory in cutting uniform discs.

SPECIAL TWEEZERS are formed by
bending tips of regular tweezers.

LOOK AT YOUR LIGHTING!

Is your interior lighting pleasant, honest, effective?

Here are more guides to good pictures indoors

Photographs for MOVIE MAKERS by LEO J. HEFFERNAN, FACL

I AST month, in A Lighting Formula, we defined picto-
^^ rially the basic function of each of the four units in
a well rounded lighting pattern. These units were,
you should recall, the key light for illumination, the fill
light to balance the shadows, the back light for glamour,
and the background light for separation. In this presen-
tation, the individual contribution of each of these units
was separately illustrated, climaxed by a single picture in
which these effects were combined in a harmonious,
integrated whole.

EFFECTS CAN BE VARIED

However, it should not be assumed that the effects
illustrated — either singly or in combination — are the
only ones possible with this four-light formula. The end
product may be as varied as is the willingness of the ama-
teur cameraman to experiment. As he does so, there are
three standards to which he should refer in the placement
of each light.

These are (1) the position of the light in relation to
the subject, whether front, side or rear of it; (2) the
angle at which the light reaches the subject, whether from
above, below or level with it, and (3) the nearness of the
light to the subject. This latter decision will largely de-
termine the intensity of effect of each unit, since a light
5 feet from a subject, say, gives four (not two) times
as much illumination as the same lamp at 10 feet. Close
lights, however, will be harsh and "hot," so that the
cameraman continually must strike a balance between il-
lumination level and lighting effect.

Learning to control and balance these three standards —
position, angle and intensity — is largely a matter of train-
ing and trying. The observant cameraman will learn, bit
by bit, to detect flaws in a lighting scheme. A too-intense
highlight often may be eliminated simply by moving ones
key unit slightly farther back. Or a too-dense shadow may
be brought into balance by advancing the fill light. For

some time, at least, it will serve the lighting novice well
to plot out each setup on paper and then to check its
effects later against the screen results.

GENERAL OR SPECIAL LIGHTING

In planning his effects, the cameraman should be
guided overall by whether the scene in question calls for
general-purpose or special-purpose lighting. Scenes in
the former category are those in which no dictation of the
script or the setting controls or delimits the lighting pat-
tern. With such scenes, the producer may then design his
lighting scheme to achieve simply the most attractive
results with the subject concerned.

Special-purpose lighting, on the other hand, must be
geared primarily to the effect called for. For example,
your script may suggest a scene of gaiety and brightness,
as at a children's birthday party; the lighting in such a
case should naturally be sparkling, well balanced and high
in key. Scenes of sadness, mystery or fear, however, are
generally low in key, with only a few strong highlights
contrasting starkly with deep, sombre shadows. Special-
purpose lighting may also be called for by the presence
in the scene of room lights, a fireplace or a window. Since
these objects are normally regarded as light sources, your
actual illumination of the setting must make them seem, at
least directionally, to be such sources in fact.

A GENERAL-PURPOSE SCENE
A good average example of the general purpose scene

is to be found in our pair of pictures. Figs. 1 and 1-A.

Although room lights do appear in the setting, they need

not dictate the overall lighting pattern since they are

behind the subject.

We show first, in Fig. 1, the flat and uninteresting effect

created by unimaginative front light. One RFL-2 lamp

has been clamped to a chair on each side of the camera.

Although the basic illumination on the subject is ade-

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w3r " * '

FIG. 1: Flat, uninteresting and too contrasty— due to dimly
lit background— is this front lighting with two RFL-2 floods.

FIG. 1-A: Three planes— fore, middle and background— are
now independently lit, creating normal sense of separation.

FIG. 2: Ludicrous are the shadows cast in this cozy scene,
if the floor lamp is to be seeming source of illumination.

quate for exposure, there are a number of fairly obvious
faults in the overall effect. First, because of contrast, even
the light on the subject seems unpleasantly "hot." Sec-
ond, the two front lighting units simply are not strong
enough to illumine the background as well as the subject,
thus creating the high contrast and the gloomy setting.
And third, the weak illumination of the normal bulbs in
the desk and standing lamps is not strong enough to come
through against the photoflood lighting.

The cameraman wishing to light this scene more at-
tractively (and yet with seeming normality) would first
replace the house bulbs in the two lamps with No. 1 photo-
floods. Since there will be three such units in the standing
lamp, it now can come through successfully and at the
same time serve as a background light. As for the desk
lamp, its normal appearance should be bright in level.
Thus, to accent this effect, the key light which illumines
the girl's face is placed high and moved away from her
until a soft, slightly underlit appearance is imparted to the
face. Note, in contrast, how much more appealing this
effect is than the "hot" lighting of Fig. 1.

The cameraman would now notice that both the desk
and standing lamps might be expected to rim light the
girl's hair. To simulate and assure this effect he therefore
trains a spotlight on her head
from behind, adding depth as
he adds glamour. Finally, since
the dark wood of the secretary
absorbs a majority of the light
thus far falling on it, a single
RFL-2 is clamped to its top and
pointed down. This prevents the
upper central portions of the
picture from appearing underlit.

A SPECIAL-PURPOSE SCENE
A simple but satisfving ex-
ample of the special purpose
scene will be found in the pair
of pictures. Figs. 2 and 2-A.
Here, with the floor lamp at the
side of the reading figure, the
observant cameraman will rec-
ognize that all of his illumina-
tion must seem to come from
that floor lamp. Actually, of
course, very little of the light

FIG. 2-A: With objects away from wall and lighting restyled,
scene now has honest simplicity of an early Dutch painting.

it can provide will be photographically useful, despite the
insertion of a No. 1 flood bulb.

Fig. 2 shows graphically some of the ludicrous effects
which can be created if special purpose lighting is not
adhered to in scenes that call for it. To begin with, no
lighting unit thus far known ever cast a shadow of itself —
much less two of them. Further, if the floor lamp is to seem
the true light source, we know too that it could not cast
a shadow of the reading figure on the wall in front of
that figure.

One cause of these difficulties is that all of the objects
in the scene — lamp, table and figure — are too close to
the backgrounds. Thus, the first thing the cameraman will
do is to move these objects away from the walls. The dif-
ference in their placement is clearly notable between Figs.
2 and 2-A.

Next, of course, must come an entire revamping of the
lighting pattern. Actually, the pleasant, apparently simple
effect created in Fig 2-A was achieved by the knowing
placement and angling of four different spotlight units.
One of these, placed high and to the right of the camera,
serves as a key light on the girl's face and figure. A sec-
ond was trained on her hair from left rear to create sepa-
ration from the dark curtain [Continued on page 25]

FIG 3: Too strong a highlight on model's
face makes her nose seem big and gleaming.

FIG. 3-A: Softer lighting and better pose
reveal true charm of this attractive model.

Fred Frater

TURN TO A HOBBY, urges the author, to keep your camera humming
during the winter months. Model railroading needs wide angle for depth.

OKAY, so there's nothing left of Christmas except
some pine needles behind the radiator. New Year's
Eve has come and gone, and the party hats are
in the attic, the empty bottles in the trash barrel. Nothing
is about to happen — in fact, there isn't a birthday in the
family for two months. What now? Are you going to stow
away your movie equipment where both moth and rust
might corrupt?

Don't do it. Keep in practice. And to keep in practice it
isn't necessary to load your camera and grind away hun-
dreds of feet of a sparrow eating bread crusts in your
bird feeding station. Nor to film aimless reels of nothing
in particular. What if it is zero outdoors? What if a four-
foot snowdrift does block your garage door? Do your
filming inside.

These winter months provide a good opportunity for
glancing through those dusty reel cans and taking another
look at the countless unedited, untitled, unplanned movies
you've taken in the past. Perhaps they are movies you
took when an utter beginner. Perhaps they are movies
you wouldn't think of projecting for friends — at least, not
in the shape they're in. (Your movies, not your friends.)

All right, let's have some fun with them. Let's make
them into interesting filmfare.

For example, perhaps you have plenty of footage of
unrelated action taken back ten or fifteen years ago. Some
of the shots look plenty amateurish. There's no semblance
of a scenario or even a running gag. Maybe some of your
subjects were "beheaded" by the camera; maybe you
didn't use a tripod; maybe there's a dizzy tilt to the pic-
tures, or they're jerky from too-short scenes. Okay, leave
it all in. The funnier, the better. Only let's wrap it all up
together by shooting some titles for the various scenes and
a main title like: Remember When? You can add a sense
of age to these titles by printing or lettering the captions

Winter

projects

WILLIAM L. LUCAS

in an old-fashioned style. After these titles are spliced in
the film, then we'll want to take a few interior shots to use
with this old film, as follows:

Shoot some footage of your wife, or other member of
your family, looking through your old movie files. She
selects a reel, blows the dust off it. You enter the scene.
She shows you the reel, and in pantomime suggests that
you project it. At first you refuse, but in the manner of
all wives she finally persuades you to show it. You set up
the screen. The projector. You and your wife settle down
in comfortable chairs, then lights out. The projector lamp
is switched on. At this point you splice in the old reel.
Then end with a shot of the darkened room, lights on,
and you and your wife in a happy reminiscent mood.

Or you could use that same old reel, with its new titles,
in another way. If you belong to an amateur movie club,
film a script similar to the following: The club is having
a picture contest. You attend, hand in your entry, very
proud. Again lights out, and your picture is projected
at the club meeting. There are frequent closeups of you,
in semi-darkness, horrified as you realize you've brought
the wrong reel to be entered in the contest. When lights
go on again, you jump up to explain your error, but you
are awarded a prize for the Best Comedy. Blithely you
accept the prize. Fade out.

Another interesting pastime is to make a documentary
film. Perhaps during the years you've taken a lot of foot-
age of your youngster's first bath, his first step, his first
birthday party, his first vacation, his first day at school, etc.
If you are normal, you probably shot a lot more than the
necessary footage of each event. If so, take a few feet out
of each film. Splice them together in chronological order.
Make some new titles to explain the various scenes. Then
make a main title such as: Growin Up! When completed,
you'll find such a film is very interesting to you as par-
ents, also to your friends. For it will reveal vividly the
growing-up process, the change from babyhood to a
youngster, from a youngster to a youth, if your offspring
is that old.

Still another way to keep your camera busy on winter
nights is to film a hobby or an interesting occupation. Do
you know of someone who collects miniatures? Who
bands birds? Who has a scale-model electric train? If
so, clean off your auxiliary lenses, think up a script, and
start shooting. Perhaps you have a friend in the shoe
repair business. If so, then you could film the various
processes of cutting and stitching new leather soles. Nail-
ing on heels. Take plenty of closeups of the new-type
machinery now being used in this occupation, compared
to the old hand methods.

If your movie club is looking for a winter project, con-
tact any factory in your region which might be interested
in having their manufacturing [Continued on page 33]

There's plenty to picture between now and the first robin. Keep

your camera skills in training with one or more of these movies

A TITLING TELL-ALL

Combined in one simple guide, this unique chart determines title area, camera-to-card
distance and the correct strength of diopter lens. Save it for reference

JOHN E. CLOSSON

ANY movie maker who has tried his hand at title
. making knows well that, in this technique, there
are a number of important facts to be known.
Field size, for example. In other words, if your intended
title card is to be 4 inches wide, how high must it be?
With this determined, how far from this card should the
camera be to cover it? And, finally, what strength of
diopter lens will be needed to give sharp focus at this
distance ?

Each one of these facts can be determined by referring
to individual data charts. But after a while you get tired
of checking two, three or four tables for each titling op-
eration. At least, I did. The result, pictured on this page,

was the design of a wholly new chart which would com-
bine, in a single format, all, of the necessary information.
I have called it a Nomographic Title Chart, based on the
definition of "nomograph" as follows: A graph that en-
ables one by the aid of a straightedge to read off the
value of a dependent variable when the value of the inde-
pendent variable is known.

In the case of title making, the independent (or known)
variables are the width of the title card and the focal
length of the lens to be used — since each of these facts
can be established at will by the cameraman. The de-
pendent (or unknown) variables are the height of the
title card, the camera-to-card [Continued on page 33]

3Y-5 mm"

14-

li
\l

II
10
9
8

i y

25 mm

Pivot B

-*.

ie.5r

9">^ J

60 -i

40 -

30 -

\£5 -

111

-'I.

20 >

,'-

\ "*

15 -

5 -

fe-

NJomogr^phic Title Chart

This chart owes THE. diopters of

AUHILIABY LENSES AND THEIR DISTANCE
FROM THE TITLE WHIN THE TITLE WIDTH
AND CAMERA Fot*L LENGTH ARC KNOWN.

Focusing mount lenses ARe set at

INriMITY WHEN AUHILIARf LENSES ARC OSEO.

5 -

4-"

Pivot A

"H —

i j

John E. Cuosson

ALL-PURPOSE TITLING CHART, designed by author, can be used with 8mm. or 16mm. cameras and with lenses from 9mm. to 37.5mm. in focal length. Photostat it for use-.

A SUMMER COTTAGE may often double as a winter ski camp, but guests
must gather their own firewood. Such action makes a good introduction.

SHADOW AND SILHOUETTE in the foreground of a sun-drenched snowscape
add depth and contrast to the scene. Note texture from cross lighting. |

SKIING CALLS YOUR CAMERA

Get outdoors for action urges this filmer from the North

FRANCES OAKES BALDWIN

DEEP powder snow, crisp winter air and bright sun-
shine spell ski time in Canada — or elsewhere. They
also spell good filming and good fun. Actually,
there's every type of skiing and ski resort in Canada,
from the three-mile downhill slopes of the Alpine-like
Rocky Mountains to the Scandinavian-type mountains of
the Laurentians. There is every type of accommodation
offered, too, from cozy lodges to first class luxury resorts.

VARIED ACCOMMODATIONS
But for the average skier and the average pocketbook,
I think the rolling country of the Gatineau hills is the
best area. There are good ski centers at Chelsea, Kings-
mere, Wakefield, Morin, Low and Camp Fortune — #11
within about fifty miles of Ottawa, Canada's capital city.

AN EXCEtLENT OPENING to your sequences of cross country or
slalom skiing would be this medium shot of unloading the bus.

All of these centers can be reached easily by train, bus or,
over good highways, with your own car.

Most of these centers are small resorts charging about
five or five fifty per day, although you can get accommo-
dation at farmhouses (the White and Red Farm at Morin
Heights, for example) for as little as two dollars a day-
including meals. Or you can stay at swank luxury resorts
which start at ten dollars a day, American plan. In al-
most every case, you can rent skis, skates and toboggans
at the lodges. So if your camera equipment crowds out
your ski stuff, don't worry about it too much.

And don't be worried about customs officials either
when you come to film Canadian skiing. You will not
need a passport to enter the country, and there's no duty
on the films or cameras you will bring in to use. Do have
some proof of your American citizenship to show U. S.
custom officials on your way home, however.

START WITH CROSS COUNTRY
But let's get out on the hills. The title of your first
sequence might be: Here is ski country — with cross coun-
try trails, tricky slalom courses and breathless downhill
runs. Start your film with shots of a group of skiers ad-
justing their equipment in preparation for a morning run
on the hills. Make sure it's a morning run, too — you'll
get your best light. Ask your skiers to stand so that you
get those pine-studded slopes of the Gatineau Hills for
a background. And get closeups of one or two of the
more colorful athletes. Human interest always adds to
the best of scenery.

Under way, keep your camera busy. Get the uphill
climb from various angles. A long shot, with your skiers
in the foreground and the panoramic slope of the valley
below, is effective. Later, station yourself for action shots
on the fast tracks through the pine-clad hills, and wait
for it to come to you. Wind up the film with shots of the

dian Gov't. Travel Bureau

A DIAGONAL VIEWPOINT for a file of cross country skiers
offers a more effective composition than would a head-on shot.
The racing turn at right must be follow-filmed with telephoto.

group heading home along the ski trails. But get this shot
rather early, perhaps even before you're ready to head for
home, because you'll run out of good light fairly early in
the afternoon.

SKI FINALS IN FEBRUARY

The Slalom Race might be the lead title for your second
sequence. Nearly every weekend there's a ski contest of
some kind at all of the camps. But if you should choose
February 17 and 18 as your skiing movie dates, you'll
hit on the granddaddy of them all. This is the Dominion
Ski Finals, held on Slalom Hill at Camp Fortune, one
of Quebec's oldest and most developed ski areas.

A ski race is a pretty hard thing to get a movie of.
alone — but it can be done. Actually, the best results are
obtained with a maximum of five cameras and a mini-
mum of three. If a group of movie fiends from your local
club make the trip together, you might try it with five.
But if there are only two of you with cameras — or only
one — you may still get a good movie by some after-race
faking.

COVERING THE RACES

If you are alone, get some pre-race crowd stuff from
halfway up the hill, and then station vourself at the finish
line. There you can get long shots of the race in progress;
medium shots and closeups of the winner crossing the
finish line: crowd reactions: the runners-up coming in;
the winner getting his cup, and so on.

After the race, kidnap the first, second and third place
winners and go back with them for repeats of the take-off.
Then, if you can persuade your skiers to keep on playing,
have them run through the race at intervals. Station your-
self at the first turn for Number One. Get a shot of him
coming towards you, passing vou and roaring away.
Then, station yourself farther along the course, and yell
for Number Two skier to come in. Number Three can be
photographed at still another part of the course. When
edited together with your long shots of the race in prog-
ress, and your authentic finish, it should make a pretty
good film.

Incidentally. I find that a few staged closeups are in-
valuable in editing a faked movie or even a genuine one.
Shots of skis whizzing through the powdery snow, or a
pole being plunged in are mightv handy things to cut to,
for a moment, to bridge an awkward time lapse or scene
break.

GROUP COVERAGE BEST

If you have a maximum of five cameras, you can really
do yourself a job. I'd recommend spotting one camera-
man at the take-off point, with an experienced local ski
authority at his elbow. He will have a pretty good idea
which skiers are likely to come in as winners, and thus
which ones are worth a starting sequence. It isn't a fool-
proof method, of course. A dark horse winner may come
in. But in that case, you'll just have to get along without
a shot of the winner starting the race, or have him run
through an additional take-off for the camera, after the
race is over.

Have two cameras stationed at the turn where you're
most likely to get spills and chills. The first camera will
take the long and medium shots, and the other camera,
using a telephoto lens, will grab the closeups. When edited,
this should give you a good action-packed middle.

Your final pair of cameras are stationed, of course, at
the finish line. One will get the long and medium shots
as the skiers come into the homestretch. The other, with
a telephoto lens, will get closeups of the winners crossing
the finish line.

That's the skeleton of your ski story, at Gatineau or
elsewhere. You can add to the plan yourself. So visit the
ski slopes this winter. There's good sport and good filming.

F* 1 *

&**,'

W *

<Vfti

» »

COVERED IN COLOR, even winter's frequently overcast lighting
seems effective on the fast action of the slalom competition.

. . . of fine

THERE'S a camera for everyone in this well-rounded line-up of Kodak movie equip-
ment. Everything from an "Economy Eight," that's an ideal camera for movie newcomers
— remarkably convenient to use . . . and outstandingly economical in price and operation
— to the superb Cine-Kodak Special II Camera, justly the top-choice camera of the movie
experts. They're shown here not only to help you select a camera for your own use, should
your movie ambitions be outrunning the capacity of your present equipment . . . but to
assist you in advising friends of yours who are considering making a start in this fasci-
nating hobby.

You'll also find details about Kodak's projector line-up — two fine "Eights" . . . and
two fine "Sixteens" ... in a range of prices and capacity to suit nearly everyone's pocket-
book, nearly everyone's movie ambitions.

Look them over here . . . and even better, plan to examine them in detail next time
you're at your Kodak dealer's.

Cine-Kodak Reliant Camera A fine "Eight" for low-cost movie making. In-
doors or out, it makes excellent movies in full color or black-and-white. For
the new movie fan, the fjl.l model (1) is ideal. The prefocused lens is set at
the factory to capture all subjects beyond a few feet, sharp and clear. With its
faster, focusing lens, the//1.9 model (2) allows picture taking under more ad-
verse light conditions, and as close as 12 inches. Both "Reliants" feature
sprocketless loading, permit slow-motion movies, and take an accessory tele-
photo. Prices, including Federal Tax,//2.7 model, $79; //1.9 model, $97.50.

Cine-Kodak [Magazine 8 Camera Now there's an economy model of the
popular "Magazine 8" Camera — modestly priced, but retaining much of the
range . . . and all of the convenience of the more versatile standard model.
Both feature handy magazine loading, built-in exposure guides, slow motion
. . . both accept telephotos and other precise movie accessories. The new
model (3) with prefocused //2.7 lens, $127-50 . . . the senior model (4) with
focusing //l. 9 lens, $147.50. Prices include Federal Tax.

Cine-Kodak Royal Magazine Camera Outstanding among 16mm. cameras,
the new "Royal" (5) teams personal movies' two top features — the optical ex-
cellence of an Ektar Lens . . . the matchless convenience of magazine loading.
Thanks to its superb lens, "Royal" movies are so sharply detailed, so crisply
defined, they're suitable not only for home shows but for auditorium screenings
up to 10 or 12 feet wide. Other important features — single-frame release, built-in
exposure guide, slow motion, enclosed finder adjustable for any of eleven ac-
cessory lenses. Price, including Federal Tax, $192.50.

Cine-Kodak Special II Camera It's far and away the world's most versatile
16mm. motion-picture camera — goal of the experts in every field served by
16mm. movies. All controls for fades, dissolves, mask shots, animated movies,
photomontages, and other effects are built right into the camera itself. It has
two finder systems, an adjustable-opening shutter, an interference-free turret,
choice of interchangeable 100- or 200-foot film chambers, and either of two
superb Kodak Cine Ektar Lenses: //1.9 or //1.4. The "Special II" (6) is priced
from $898.50, including Federal Tax.

Kodascope Eight-33 Projector Kodak's most popular projector (8) for
8mm. movies. Operation is extremely simple, and its //2 Lumenized lens and
500-watt lamp provide amazingly sharp pictures 3 feet wide at average projec-
tion distance. Now a bigger buy than ever at only $65.

uipment by KODAK

Kodascope Eight- 7 1 A Projector A perfect companion for a fine 8mm. camera,
the "Eight-71A" (9) teams a fast //1.6 Lumenized lens and a brilliant 750-
watt lamp for remarkably bright, sharp pictures. For extra-large or extra-
brilliant movies, a 1000-watt accessory lamp can be used. Uninterrupted half-
hour shows from 400-foot reels. With automatic rewind, priced at $97-50.

Kodascope Sixteen- 10 Projector Noted for its big, bright pictures, this pro-
jector(10)has a 2-inch //l. 6 Lumenized lens and 750-watt lamp. In addition, it
takes any of four accessory lamps (300 to 1000 watts) and any of four accessory
lenses — focal lengths from 1 to 4 inches. It offers splendid 16mm. movie projec-
tion for almost any audience. Priced at $135. (Kodascope Sixteen-IOR Projector
— same basic machine but equipped with remote reversing switch — $185.)

Prices subject to change without
notice. Consult your dealer.

Kodascope Pageant Sound Projector Newest Kodak creation, finest 16mm.
sound projector in the moderate price range. Compact, easy to carry, complete
in one case — the "Pageant" (7) combines pictures of outstanding brilliance
with splendid sound amplification. Has a 2-inch //l. 6 Kodak Projection Ekta-
non Lumenized Lens, including field flattener. Uses a 750-watt lamp (with
1000-watt lamp optional on AC). Perfect tone reproduction on AC or DC from
all types of 16mm. film because of Kodak's exclusive built-in Fidelity Control
and the 8-inch permanent magnet speaker. No lubrication needed, ever! Comes
with 1600-foot reel . . . takes all 16mm. reels through 2000-foot size. Price, $375-

EASTMAN KODAK COMPANY

ROCHESTER 4, N. Y.

TRADE-MA

'eett/ze

. . . of fine movifquipment by KODAK

Look them over here . . . and even better, plan to examine them in detail next time
you're at your Kodak dealer's.

Prices subject to change without
notice. Consult your dealer.

EASTMAN KODAK COMPANY

ROCHESTER 4, N. Y.

Cine-Kodak Reliant Camera A line "Eight" tor tow-cost nun ie making In-
doors or out, it makes excellent movies in lull color or bl.ick-.ind -white. For
the new movie fan, the //2.7 model (1) is ideal. The prefocused lens is set at
the factory to capture all subjects beyond a lew feet, sharp and clear. With its
faster, focusing lens, the //1. 9 model (2) allows picture taking under more ad-
verse light conditions, and as close as 12 inches. Both "Relianrs" feature
sprocketless loading, permit slow-motion movies, and take an accessor) tele-
photo. Prices, including Federal Tax,//2.7 model, $79; //1.9 model, $97.50.

Cine-Kodak [Magazine 8 Camera Now there's an economy model of the
popular "Magazine 8" Camera — modestly priced, hut retaining much of the
range . . . and all of the convenience of the more versatile standard model
Both feature handy magazine loading, built-in exposure guides, slow motion
. . . both accept telephotos and other precise movie accessories. The new
model (3) with prefocused //2.7 lens, $127. 50 . . . the senior model (4) with
focusing //l. 9 lens, $147-50. Prices include Federal Tax.

Cine-Kodak Royai Magazine Camera Outstanding among 16mm. cameras,
the new "Royal" (5) teams personal movies' two top features—the optical ex-
cellence of an Ektar Lens . . . the matchless convenience of magazine loading.
Thanks to its superb lens, "Royal" movies are so sharply detailed, so crisply
defined, they're suitable not only for home shows but for auditorium screenings
up to 10 or 12 feet wide. Other important features— single-frame release, huih-in
exposure guide, slow motion, enclosed tinder adjustable for any of eleven ac-
cessory lenses. Price, including Federal Tax, $192.50.

It's far and away the world's most versatile
-goal of the experts in every field served by

Cine-Kodak Special II Corner

16mm. motion-picture camera-
16mm. movies. All controls for fades, dissolves, mask shots, animated movies,
photomontages, and other effects are built right into the camera itself. It has
two finder systems, an adjustable-opening shutter, an interference-free turret,
choice of interchangeable 100- or 200-foot film chambers, and either of two
superb Kodak Cine Ektar Lenses; //1.9 or //1.4. The "Special II" (6) is priced
from $898.50, including Federal Tax.

Kodascope Elght-33 Projector Kodak's most popular projector (8) for
8mm. movies. Operation is extremely simple, and its //2 Lumenized lens and
500-watt lamp provide amazingly sharp pictures 3 feet wide at average projec-
tion distance. Now a bigger buy than ever at only $65.

Kodascope Elght-71A Projector A perfect companion for a tine 8mm. camera,
the "Eight-71A" (9) teams a fast ff 1.6 Lumenized lens and a brilliant 750-
watt lamp for remarkably bright, sharp pictures. For extra-large or extra-
brilliant movies, a 1000-watt accessory lamp can be used. Uninterrupted half-
hour shows from 400-foot reels. With automatic rewind, priced at $97-50.

Kodaicope Slxteen-lO Projector Noted for its big, bright pictures, tins pro-
jector(10)has a 2-inch //l. 6 Lumenized lens and 750-watt lamp. In additiou.it
takes any of four accessory lamps (300 to 1000 watts) and any of four accessory
lenses— focal lengths from 1 to 4 inches. It offers splendid 16mm. movie projec-
tion for almost any audience. Priced ar $135 (Kodascope Sixteen-IOR Projei EOl
—same basic machine but equipped with remote reversing switch— $185.)

Kodaicope Pageant Sound Projector Newest Kodak creation, finest 16mm.
sound projector in the moderate price range. Compact, easy to carry, complete
in one case — the "Pageant" (7) combines pictures of outstanding brilliance
with splendid sound amplification. Has a 2-inch //l 6 Kodak Projection Ekta-
non Lumenized Lens, including field flattener. Uses a 750-v.. irt lamp (with
1000-watt lamp optional on AC). Perfect tone reproduction on AC or I >< from
all types of 16mm. film because of Kodak's cxilusive built-in Fidelit) ( ontrol
and the 8-inch permanent magnet speaker. No lubrication needed, everl « lomea
with 1600-foot reel . . . takes all 16mm. reels through 2000-foot size. Price. $375.

The Clinic

FRAME COUNTER FOR SPECIAL

I have always read every article
in Movie Makers by Al Morton,
FACL, and have enjoyed them very
much. However, I differ with him
over his last article on the fader he
designed for his Special (see A Fad-
ing Control for the Cine Special, Feb.,
1950 — Ed.). He still has to contend
with the problem of frame counting.

While there is, to be sure, a frame
counter built into the Special, its
dial is small in size, recessed into
the camera wall and generally diffi-
cult to observe. For exact overlap-
ping in dissolves and for any kind of
split-screen work, I think Mr. Mor-
ton will agree that a more readily
visible counter is desirable.

The illustration on this page will
make the general design of my frame
counter clear. It consists of a 21/4
inch disc, mounted around the motor
drive shaft, which has been calibra-
ted with 40 equally spaced markings;
these, of course, represent the 40
frames in a foot of 16mm. film,
which is the amount passed during
one revolution of the shaft. Secured
to the end of the drive shaft with a
3/48 machine screw is a pointer, %
inch in diameter and 1 inch in
length, which revolves around the
disc, scanning it frame by frame.
The only other addition necessary is

a new back-winding key. The one at
which I am pointing has a 1 inch
long shank so that it will clear the
frame counter installation.

I have been using this device for
nearly four years and with it can hit
lap dissolves and the like right on
the frame. While it must be removed
momentarily when the camera spring
is rewound, the 38 foot film run of
the Special makes this unimportant. I
recommend the system to Al Morton
and all other critical users of the
Cine-Kodak Special.

A. Theo Roth, ACL
San Francisco, Calif.

Mr. Roth's ingenious frame counting
system echoes (but apparently antedates)
a similar one worked out by Arthur A.
Merrill for the Filmo 70-D and reported on
in The Clinic, June, 1950. With this latter
camera, the film winding handle itself
was used as the pointer, since it revolves
on the shaft when in the "out" position.
An easy adaptation of this idea should
be open to any movie maker on whose
camera the motor shaft is exposed. The
thing is to determine how many frames it
passes in one revolution.

SLIDES WITH MOVIES

I sure enjoyed tlut interesting and
attractive article. Slide Showmanship,
by Victor Ancona, ACL, in the No-
vember issue of Movie Makers. Per-
haps others among our readers will
be interested in how I combine

Pictures, plans and ideas to
solve your filming problems

slides and movies in my current
shows.

The setup is all on one long table:
the movie projector on the right, the
slide projector on the left, and dou-
ble turntables in between. Simple
enough; but here are the two twists
which make it work smoothly. (1)
So that the 35mm. slide projector
will match the screen size of the
16mm. movie projector from the
same operating position, it is neces-
sary to change the focal length of
the lens on the slide unit. I found that
a 7 inch objective was just right on
my Gold-E projector. (2) To create
an uninterrupted pattern of pictures
— still or movie — on the screen, I
fed the power lines of both projectors
through a Viewlex Lite-O-Stat plug.
This unit, familiar in principle, pass-
es current to the movie projector
when it is turned on, switches the
power to the slide projector when the
movies are turned off. Music and
narrative through the turntables are
used as needed with both.

Hugh Moad, ACL
Kansas City, Mo.

POCKET CAMERA TRIANGLE

As far as I have seen, my design
of a camera triangle is the simplest,
cheapest and lightest in the field of
amateur filming. It may appeal to
those wishing to use this important
accessory, but who have been unwill-
ing to carry around a big heavy unit.

Take three strips of strong canvas
tape, 1% inches or more wide and
of a length which will be handy to
your tripod usage. Sew one end of
each tape around a central metal
ring, and space three or four metal-
grommeted holes in their outward
[Continued on page 33]

FRAME COUNTER FOR CINE SPECIAL, large of dial and easily read, is demonstrated
by A. Theo Roth, ACL. Dial has 40 spaces for number of frames in 16mm. film foot.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers. 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

16mm. scenes by William A. Thomas, ACL

"WHETHER it's fishing in pond or bowl, it's catching the fish that
is my goal." So runs the narrative during the goldfish sequence,

which ends with an empty bowl. Scene at right was accompanied by:
"That gentle hand which strokes my head, I bit it once until it bled."

STARRING MISS KITTY

Patience, a pet and plenty of film are the prime ingredients in

picturing your cat. But it's worth it, says this Ten Best winner

WILLIAM A. THOMAS, ACL

Y daughter Kathryn came running up the front
steps, tears in her eyes and a bundle of fur in her
arms. "Mother,"' she cried, "you've got to help
me! Some boys were teasing this poor stray kitten."
Olive, of course, was going to be firm; she knew about
cats from 'way back.

"You can't keep that cat," she said. Then, relenting
a little after a quick glance at the scared and helpless
kitten, she added: "Well, perhaps you'd better feed it and
keep it till tomorrow. But then we find a home for it."

Then, of course, never came. As the tomorrows passed,
wise little Kathryn silenced all protests with: "Yes,
Mother : I know that we can't keep Miss Kitty. But please
let her stay just one more night." All too soon the kitten
had purred her way into our hearts, and we found our-
selves the willing victims of the naughtiest cat that ever
lived.

So-o, we decided to capitalize on her naughtiness and
make Miss Kitty a movie star. She showed, to be sure,
only one similarity to more orthodox actresses — she per-
formed best when well fed. Then there was that tendency
toward temperament, a trait which soon led us to believe
that our furry feline was at least the familiar — if not the
reincarnation — of some ancient witch. It was from this
feeling that our theme, The Witch Cat, was born.

We knew, of course, that cats (unlike dogs) have little

desire to please their masters. While we admired this
proud spirit of independence, we soon found that it was
not a trait designed to facilitate film production. There
was, for example, the scene in which Miss Kitty was sup-
posed to come out of a paper bag head first. It was an
unnatural action, and the cat immediately recognized it
as such. Having gone in the bag head first, she consistently
backed out again tail first. Q.E.D., she seemed to say.
Nothing to it. And, in the end. there was nothing to that
scene either — except a lot of wasted film.

And so we learned early a lesson we should have known
all along. Ask of your furry friend only those actions
which she likes to perform — or can be induced to per-
form through acceptable trickery. The majority of our
most effective sequences were obtained in this way. For
example, one of the favorite pastimes of our bewitched
kitten was chewing oh lead pencils. However, to be sure
that she would chew them when the camera was running,
we rubbed them liberally with horse meat. Miss Kitty
was tricked also into licking her mistress's face affection-
ately. But since Olive objected to being rubbed with horse
meat, we created surefire cat appeal by greasing her face
with butter.

There were many antic maneuvers, however, toward
which our kitten needed no prompting. A bouquet of cut
flowers was an immediate chal- [Continued on page 26]

EXTREME CLOSEUP, shot with a 2V2 inch telephoto, took four hours of
filming, used TOO feet of film and now runs 45 seconds. The unwanted

milk was spiked with ammonia to assure that the cat would spurn it,
while butter on the face of Mrs. Thomas was the tempter in finale.

SAN XAVIER MISSION, 300 years old but still in good repair,
is one of Tucson's architectural show spots. A p.m. exposure.

346 days of sunshine call your camera to
this region of color, cacti and dude ranches

Photographs from Western Ways by Charles W. Herbert,
Naurice Koonce, Ray Manley and Kenneth McVey

THE SAGUARO CACTI, giants of the southern desert scene,
offer excellent framing for your sequence of dude ranch riding.

WELCOME

TO TUCSON

MARJORIE RIDDELL

TUCSON, Arizona, is becoming more and more popular
with movie makers searching for a new world to
conquer. Within the city and in the surrounding area
there are settings and activities unequaled in variety,
beauty and interest. Even the weather is ideal, especially
for color. The Sunshine Climate Club boasts sunshine on
an average of more than 346 days a year and nearly
eleven hours every day. The bell-clear atmosphere fre-
quently induces the catalog photographers of big mail
order companies in the East to pack their models under
one arm, their cameras under the other and hop a plane
to land on the Arizona desert for the duration of the
winter months. This section is also used frequently by
Hollywood production units for a wide variety of locations.

ADVICE FROM THE EXPERTS
When you go to a new area to do some shooting, it's
a good idea to contact an old timer (professional or
amateur) and get some tips from him. I was lucky to find
Charles W. Herbert, ASC, a professional cameraman of
twenty years experience with Fox Movietone, March of
Time and Universal Newsreel. Herbert is now head of
Western Ways in Tucson, an all around photographic
plant covering this area. Here are some of the many tips
he gave me, which I pass on for your guidance when you
come a'filming around Tucson.

ESTABLISH THE SETTING

Perhaps you'd like to fade in with a general view look-
ing down on the city. A good spot is not hard to find. "A"
Mountain pokes its head up to the southwest, just two
miles from downtown Tucson. It's identifying "A" is
re-whitewashed every year by long-suffering freshmen at
the Lniversity of Arizona. A good road spirals upward to
the top of the mountain and from there you can get a
satisfactory view of the whole city.

FILMING THE DESERT

Outside, Tucson sprawls like an adolescent youngster,
with some of its most interesting aspects lying at the
farthest extremities. There are miles and miles of desert
in warm, sandy hues, rugged mountains, rolling foothills
— all canopied with dazzling clouds and azure skies. Cacti
of every kind polka-dot the landscape — huge ones, dainty
ones, beautiful and grotesque ones. And if you're in
Tucson in the spring, when all the cacti and wild flowers
carpet the desert in a riot of color, you'll have an oppor-
tunity to shoot some really breath-taking scenes.

I picked up some valuable rules for capturing all this
beauty on Kodachrome from Ray Manley. He told me
that the best pictures are always made in the morning
and afternoons, when long shadows give depth to the
otherwise flat desert. He also warned to be a stickler for
that light-meter reading. The altitude and brilliance of
light will fool many a stranger to this region.

One "must" on your list of attractions is the Saguaro
National Monument. It is a whole forest of Saguaros or

GOOD FOR A GAG is this staged scene of a member of your
party perched on a "prickly" cactus. Read story for the secret.

Giant Cacti, the granddaddy-sized cacti that often grow to
a height of forty feet or more. You can get a good gag
shot by burning or cutting off a few spines on one of the
drooping cactus arms and then perching on it a pretty
girl or a member of the family. It will take a little time
and patience, but the result will be well worth it.

ATTRACTIVE AGRICULTURE
Another interesting sequence can be shot around the
town's agriculture. All crops are nourished by an elaborate
system of irrigation ditches filled with water pumped
from deep in the ground. Over thirty different vegetables
are grown besides alfalfa, barley, oats, peanuts, fruits,
dates and citrus. You can make some good human interest
shots here of workers picking dates or oranges. Don't
forget a few shots of some livestock, goats or turkeys,
with a closeup of the droopy-eared Brahmans, the cattle
from India that are especially adapted to arid areas.

THE MISSION AND THE INDIANS
Then you'll want to cover San Xavier Mission from all
angles. It is one of the famous Father Kino chain of mis-
sions. Although it was built over 300 years ago, it is still
used today by the Papago Indians for whom it was built.
It is a huge white domed structure of architectural
beauty. The sun will be on the front of the building in
the afternoon. There are rows of arches, fancy grille
work and a cactus garden to frame your shots.

If you're lucky you may get a picture or two of the
Papago Indians who attend the church, but thev are shy.
Don t be alarmed if you aim your camera at a group only
to see a blank space through your viewfinder as every last
one of them duck behind the wall. Here again Herbert's
advice was invaluable to me. "If you see an Indian shot
you'd like to have," he told me, "go about it diplomati-
cally. Be discreet, considerate and explain what vou want
to do. Keep your camera out of [Continued on page 33]

WHAT A LIFE! This sort of thing is known as "dude ranching" around
Tucson's 20 million dollar industry. But it sure makes pretty pictures.

RIDE 'EM, COWBOY! A position in the stands near the incoming chute
is recommended for cameramen at Tucson's annual Fiesta de los Vaqueros.

CAMPFIRE SCENES, lighted with flares, are best filmed when there is
still some light in the sky. Note masking of flame behind the cactus.

CINE-KODAK ROYAL, Eastman's latest in 16mm. magazine cam-
eras, offers f/1.9 Ektar, three speeds and single frame at $192.50.

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

Cine-Kodak Royal Kodak's latest

entry in the
16mm. magazine camera field is the
Cine-Kodak Royal — a camera that com-
bines convenient magazine loading with
a 25mm. f/1.9 Ektar lens, at a total
cost of $192.50. The new model can be
focused on subjects from 12 inches to
infinity and features a single frame
release and an enclosed viewfmder ad-
justing optically for any of eleven
accessory lenses. Operating at three
speeds — 16, 24 or 64 frames per sec-
ond— the Royal has a simplified expo-
sure guide attached to its side.

Tenplus adapter The entire bat-
tery of Leica
lenses designed for the Leica range-
finder can now be mounted on the
-Cine-Kodak Special I, with the aid of

TENPLUS ADAPTER now permits
use of all Leica lenses with
Cine-Kodak Special I. $46.50.

AMPRO FUTURIST 8, a 1951 release, features
central controls, reverse projection, stills.

a new item known as the Tenplus
adapter, which locks onto the Cine-
Kodak's lens turret and takes Leica
lenses directly. Either the reflex finder
of the Special or the Tenplus adapter's
eye-level finder may be used for focus-
ing. The Tenplus adapter is priced at
$46.50 and is available from the Ten-
plus Company, 43-L Garden Drive,
Roselle, N. J.

German cameras A complete

listing, stuffed
with illustrations and specifications, of
all still cameras being manufactured
in Western Germany today is available
from Willoughbys, 110 West 32nd
Street, New York 1, N. Y. The book
runs to 157 pages and retails for 85
cents.

Sky-Lift stand A lightweight

screen stand that
converts wall and ceiling screens to
either tripod or platform models has
been developed by the Radiant Manu-
facturing Corporation, Chicago, 111.
Called the Sky-Lift, it will handle
screens up to 12 by 12 feet in size.
The screen fabric can be raised to a
height of 14 feet by the rope and pulley
method. Sky-Lift weighs only 20 pounds
and may be folded compactly for ship-
ping and storage.

New GE prexy Ralph J. Cordiner
has been named
president of the General Electric Com-
pany to succeed Charles E. Wilson, re-
cently named chairman of the new De-
fense Mobilization Board. Mr. Cordiner
has been with General Electric for 24
years.

Hardy film Intended for picture
taking at depths of
more than three miles beneath the sur-
face of the earth, and at temperatures

ENLARGER-VIEWER, new Revere item,
offers simplified frame enlarging with
home developing kit. Comes in 8 or 16.

up to 113 degrees above the boiling
point of water, Kodak Linagraph Drift
Survey film has been introduced by the
Eastman Kodak Company in both
16mm. and 35mm. widths.

Used in a standard clinometer or
drift survey camera, the film is em-
ployed in well drilling operations to
record instrument readings as drift
meters and other devices are lowered
into the well to determine the progress
of drilling operations.

Enlarger-Viewer Either 8mm- °r

16mm. frames
may now be enlarged, developed and
printed at home without loss of detail
or cutting rolls of films. The trick is
turned by the new Revere Enlarger-
Viewer and developing kit, which elim-
inates the necessity for a negative in ar-
riving at the black and white print.
The Enlarger-Viewer is so named be-
cause it may be used either as an en-
larger for frames or as a viewer for
editing. The 8mm. version of the com-
plete kit costs $47.50, while the 16mm.
model is priced at $49.50.

Avant-garde films Three experi-
mental films
by Curtis Harrington, a young and
searching American producer, have been
released by Brandon Films. Inc., 1700
Broadway, New York 19, N. Y. The
films are Fragment of Seeking, On the
Edlge and Picnic. They treat of narcis-
sism, fruitless escape and minor middle
class tragedies.

Indian footage Though primarily
intended for edu-
cational purposes, Monuments of the
Moghul Empire in India, six reels of
16mm. Kodachrome, should interest ar-
chitects, historians and those with a
general interest in India's past. Among
the historic sights are shots of the

MOVIE MAKERS

TEX McCRARY and Jinx Falkenburg talk about
Pattern for Survival, civilian defense film, with
Adm. W. H. P. Blandy, center, and Milton
Salzburg of Cornell Film Co.

Taj-Mahal, the Red Fort and Emperor
Akbar's Mausoleum. Full information
is available from the distributor, Sil-
ver Screen Syndicate. 5 Albert Road,
Allahabad, India.

Almanac acquires Exclusive

16mm. distri-
bution rights to six new films produced
by Films of the Nations have been ac-
quired by Almanac Films, Inc., 516
Fifth Avenue, New York City. The films
are Thorvaldsen, Meet the Swedes,
Handicrafts of Belgium, Majestic Nor-
way, The Dutch Way and South Africa's
Modern Cities.

Zone Grey films Twenty popu-
lar feature-
length Zane Grey 16mm. sound pictures
have been released by Hollywood Film
Enterprises. 6060 Sunset Boulevard,
Hollywood 28. Calif. The films feature
such stars as John Wayne, Gary Coop-
er. Alan Ladd, Randolph Scott, Rich-
ard Arlen, Ann Sheridan and Marsha
Hunt.

Color history A $25.ooo gift from

Leopold Godowsky
and Leopold Mannes, co-inventors of
Kodachrome film, has made possible
plans for an extensive color photog-
raphy display at George Eastman
House, in Rochester, N. Y. The display
will be designed to show visitors the
meaning of color and to explain the
main attempts that have been made
to reproduce colors photographically.
Push-button models and diagrams, as
well as actual color photographs and
apparatus, will be used in the exhibit.

Bendix acquires The property

and facilities of
the Victor Animatograph Corporation
at Davenport. Iowa, have been pur-
chased by Bendix Aviation Corporation.
Bendix plans to use the modern fac-
tory building for increased production
of aircraft instruments and accessories
for the expanding military program.
Motion picture projectors and replace-
ment parts will, it is said, continue to
be available from Victor.

Look at your lighting!

[Continued from page 13]

and is the only light not seemingly
originating from the floor lamp. A third
spot picks out the small table and its
ornaments, while a fourth illumines the
right angle of the walls. Gone are the
earlier, offending shadows, while the
one shadow now clearly seen — that of
the table — seems created naturally by
light from the floor lamp.

SPOTLIGHT VS. FLOOD LIGHT

\ou may have noted by now that
many of the lighting units mentioned
in this month's discussion (as well as
the majority of those pictured last
month) have been of the spot type. To
a degree, the choice of spot over flood
light (or vice versa) may be a matter
of personal preference by the photog-
rapher using them. However, the fol-
lowing generalizations can be made con-
cerning the two units for your guidance.

The spotlight, as its name implies,
delivers a concentrated beam of light
characterized by brilliance and inten-
sity. Objects illuminated by such light
are likely, therefore, to reproduce pho-
tographically with noticeable sparkle.
Carried to an extreme, however, this
sparkle may turn into undesirable
harshness, as is shown clearly in Figs.
3 and 3-A.

The true spotlight, because of its con-
struction, will of necessity be higher in
price and heavier in weight than corre-
sponding flood units. For a well rounded
lighting setup, however, every movie
maker should look forward to includ-
ing one or more spot units — even if
they are no more than the quite effective
RSP-2 (built-in spot) lamps.

The flood light also is well named.
Used at its best in a metal reflector, the
flood light spreads across the scene il-
lumination which is soft and diffused.
As such, this lighting is excellent where
called for by the subject — as in scenes
of babies and small children. The flood
light also is useful (and widely used
by professionals) in filling in or light-
ening shadow areas created by a pre-
dominantly spotlighted treatment. Effi-
ciently available without metal reflectors
are the built-in flood lamps, RFL-2 and
the newer 375 watt medium beam unit.
This latter offers a partially controlled
spread of 60 degrees, but cannot be
compared in spot quality to the 20 de-
gree beam of the RSP-2.

All in all, perhaps the best answer
in building up your lighting equipment
is to aim at having plenty of both —
floods and spots.

* * *

THE WORLDS MOST COMPLETE

historical photographic collection is lo-
cated at George Eastman House, the
Rochester. N. Y.. memorial to the man
who brought photography to all.

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JANUARY 1951

Starring Miss Kitty

[Continued from page 21]

lenge to yank out and dismember each
and every bloom. Potted plants fared
no better. At the least she would ruin
their looks (and probably their health)
by nibbling the leaves; often in her
enthusiasm she would uproot an entire
plant. Long, low-hanging draperies she
regarded, apparently, as some form of
exercise bar. She would leap happily
up their length, clawing and ripping
as she swung madly from side to side.
(In the film we managed to stage these
scenes with simulated curtains made
of an exactly matching wall paper.)
Lamp cords were quite clearly designed
to be batted about. The fact that her
claws sometimes caught in them, bring-
ing the entire lamp crashing to the
floor, disturbed Miss Kitty not a whit.
And, of course, our canary lived in
mortal fear of ever seeing a new day,
while the poor, patient dog simply had
no further peace.

In the light of these engaging but
satanic antics, is it any wonder that
our continuity cast Miss Kitty as The
Witch Cat? For quite a time, to be
sure, that was about as far as the
theme went — an idea toward which to
slant our scenes and sequences. But
after shooting a thousand or so feet
of film, we began really to ponder

how we were going to put our picture
together. It was, I think, Olive's idea
to open with a prelude in which a
wicked old broom-rider is seen trans-
ferring her spirit to the body of a cat.
In any case, it was Olive who gallantly
disguised herself as the horrid old hag.
And it was she, also, who prepared and
recited the rhymed couplets of the nar-
rative — on which treatment we had
decided in place of subtitles.

With this plan agreed on, we then
faced the problem of ending the pic-
ture. Perhaps in deference to Holly-
wood tradition, we toyed with the pos-
sibilities of the "happy ending," the
fadeout on the triumph of good over
evil. Of course, writing this into any
script for Miss Kitty seemed ridicu-
lous. But in time Dame Nature wrote
the finis for us. A blessed event cropped
up in Miss Kitty's life, and, all un-
witchlike. she murmurs to her mistress
at the film's end: "At last your love
has won my heart!" This is the bunk,
of course. But fortunately the cat had
no control over the narrative writing.

Technically, as well, we learned a
few lessons concerning cat filming. In
general, for example, we found that
flood lighting (and plenty of it) is the
easiest to use, since your actor is un-
likely to stray out of it. Our basic
units were one No. 4 photoflood in
reflector for the key light; one No. 2
flood lamp in reflector for the fill unit,

"he facts about lens bubbles

PERHAPS one of the most common
queries submitted to the League's
consulting department goes approxi-
mately as follows:

"In examining the lens on my new
camera (or a new lens purchased for
that camera), I noticed that there are
some tiny bubbles embedded in the
glass. Are these bubbles going to affect
the quality of my pictures?"

Here are the facts in the case. They
are reproduced with the kind permis-
sion of Kodak News, a trade publica-
tion for Eastman camera dealers.

In the manufacture of optical glass
it is practically impossible to obtain
large quantities of glass entirely free
from bubbles. If bubble-free glass were
used exclusively, the cost of making
photographic lenses would double or
even triple in many cases. This addi-
tional expense is entirely unjustified
considering how harmless lens bubbles
really are.

It's a Question of Light Rays

Briefly, a bubble acts as a tiny lens
which diverts a certain portion of light
from the image-forming beam. These
diverted light rays may fall somewhere
on the film or they may never reach it.
If these rays are sufficiently numerous

in relation to all of the light rays pass-
ing through the lens, a small, dark area
may appear on the final print or color
transparency.

Every reputable lens is inspected for
bubbles. Each lens must meet certain
specifications which limit the size and
number of bubbles within a comfort-
able margin of safety. In other words,
the bubbles you see in a good lens
could actually be larger or more numer-
ous and still not divert enough light
to affect the image in any way. As a
matter of fact, a bubble 1/16 of an
inch in diameter diverts such a small
amount of light that it amounts to slow-
ing down a lens which is 1 inch in
diameter by only 1/170 of a stop. Not
enough to worry about.

Make a Test

If you have any reason to suspect
that air bubbles in your lens are affect-
ing the quality of your pictures, it is
easy to make a convincing and conclu-
sive test. Simply photograph a patch of
clear blue sky, using the lens opening
recommended for the film used. If a
small dark area appears on the result-
ing picture, you may have cause for
complaint. It is extremely unlikely that
this will happen.

and occasionally a 500 watt spotlight
for effect lighting.

Further, judging by our experience,
a cat will pay little or no attention
to glaring lights. With the incredible
contracting powers of their irises, their
eyes become almost instantly adapted to
any level of illumination. In fact, here's
a valuable tip for those of you desir-
ing the ultimate in eye appeal in still
pictures of your pet. Shoot them in a
semi-darkened room, with flash bulbs
instead of flood. In this way their
pupils remain dilated and fully round,
adding unbelievable beauty to the eyes.

However, cats are too contrary to
permit all your filming to be easy.
There was, I still recall with anguish,
the night we attempted the full-frame
closeups of Miss Kitty's head. A 2V2
inch //2.7 telephoto lens was used,
which we attempted to focus visually
at about the cat's eyes. But to create
the maximum depth of field (because
of the telephoto), we moved both flood
lights in quite close. Their heat (not
their glare) made her pant and squirm
and jump away continually. Finally, by
setting a shallow box (another cat's
delight) up on a stool, we were able
to grab a few good shots. But it took
four grueling hours and 100 feet of
film to obtain the scene you see on these
pages. It lasts about forty five seconds
on the screen.

Altogether, it took us about eleven
months (including time out for the
blessed event) to shoot and edit our
film. Some 2100 feet of 16mm. Koda-
chrome were cut eventually to a bare
600. But you've got to expect that
overshooting in pet films, if you're de-
termined during the editing to use only
the best. Our camera was a Cine-Spe-
cial, on which the only other lens be-
sides the telephoto was the standard
one inch objective. Probably a wide
angle would have helped. And, in pass-
ing, we tried on occasion Daylight
Kodachrome exposed under blue-glass
photofloods. It was not a satisfactory
match with Type A, especially in the
flesh tones. Olive's, that is, not the
cat's.

Looking back now, even the occa-
sional arguments on "how it should be
done" seem like fun. If you have a
passion for movie making and a love
for cats, why not combine them in
your next picture? We did in The
Witch Cat, and we have never regretted
a moment of it. Especially now, for
Miss Kitty only recently joined her
witchly godmother in the true world
of the spirits.

MOVIE MAKERS

LATE RELEASES

Features and short subjects for 8mm. and 16mm. screens

pattern for

SURVIVAL

A DOCUMENTARY FILM THAT DRAMATIZES
DEFENSE AGAINST ATOMIC ATTACK

■ Lost Canyon, seven reels. 16mm.
sound, black and white, is distributed
by Commonwealth Pictures Corpora-
tion. 723 Seventh Avenue. New York
19, N. Y. William (Hopalong Cassidy)
Boyd hurls himself through another
seven reels of fast moving western ac-
tion. Co-starred with him are his ac-
customed sidekicks. Andy Clyde and
Jay Kirby. Lola Lane adds the sooth-
ing touch of womanhood to the border
doings.

g Touchdown Thrills of 1950, one reel,
black and white, is available in 8mm..
16mm. and 16mm. sound versions from
Official Films. Grand & Linden Ave-
nues, Ridgefield. N. J. This year's foot-
ball highlights include shots from the
following games: Purdue-Xotre Dame.
Army-Harvard. Kentucky-Georgia Tech.
Ohio - Northwestern. Texas - Southern
Methodist. Princeton-Cornell and Okla-
homa-Texas. Mel Allen does the narra-
tion. The film is designed to thrill the
casual fan. but its intimate play detail
should interest the more hardened fol-
lowers of the game.

• Pattern for Survival, two reels.
16mm. sound, black and white and
color, may be obtained from Cornell
Film Company. 1501 Broadway, New
York 18, N. 1 . Based on government
records and files. Pattern for Survival
describes in detail the effective ways in
which planned civilian defense, aimed
at individuals and groups, can counter-
act fear and panic in the community.
The film features narration by William
L. Laurence, science writer for The
New York Times and two-time winner
of Pulitzer Prizes.

■ Art Treasures from the Vienna Col-
lections. 40 minutes. 16mm. sound on
film, color, may be had from National
Film Distributors. 112 West 48th Street,
New York 19. N. Y. Rubens. Rem-
brandt. \ ermeer and \ elasquez are
among the painters whose masterpieces
are shown in this comprehensive foot-
age of the Hapsburg art treasures. The
commentary is written by Thomas Crav-
en and narrated by Basil Rathbone.
There is a companion film on the Ber-
lin collections.

■ The J'anishing El, one reel. 16mm.
sound, black and white, may be had
directly from Sterling Films. Inc.. 316
West 57th Street. New York 19. N. Y.
This footage takes you on a brief sight-
seeing trip through New \ ork City,
aboard the last of the city's once great
network of elevated railways. Among
the memorable places shown are the
Brooklvn Bridge and Chinatown.

Featuring

WILLIAM L. LAURENCE, Scientific

Writer for Th« New York Times - the

only newspaperman who covered the

entire Atomic project.

Filmed with the cooperation of the

Army, the Navy and the American

Red Cross.

IN CASE OF ATOMIC ATTACK...

You must know what to do !

Timely. 20-minute film shows
what to do if you get no
warning • where to find shel-
ter • what materials you need
in school, factory, office or
home ■ how to know when
you are safe, and much more
important information that
can save your life.

A FILM FOR YOUNG AND OLD
- NO SHOCKING SCENES

Simple — clear — every"
scene approved by
defense authorities. For
civic, industrial and
fraternal groups; for
churches; for families; a
technique of defense that
is desperately important
right now.

Available in 16mm sound

color and black-and'**hiie

Aik for tttis vital film

at your film library

Of write to Cornell Film Co.

CORNELL FILM COMPANY

1501 Broadway, New York 18, N. Y.

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

ST A H L

EDITING AND TITLING SERVICE
33 West 42 St. New York 18, N. Y.

g Polkas, one reel. 16mm. sound,
black and white, may be obtained from
the Audio-Master Company. 341 Madi-
son Avenue. New York 17. N. Y. Here
are several Johann Strauss polkas, as
performed by the "\ ienna Symphony
Orchestra under the direction of Robert
Stolz. with the cooperation of the \ ien-
na Staatsopera. The film features the
prima ballerina. Julia Drapel. Other
films in the same series are The Beau-
tiful Blue Danube Waltz, The Gypsy
Baron and The Fledermaus Overture.

AGAIN!

THE RESPLENDENT COLOR RELEASE
OF THE YEAR

1951 PASADENA TOURNA-
MENT OF ROSES PARADE

Complete 400 Foot Editions Only

Silent $60 Sound $75

ARTHUR H. HART

CINEMATIC DEVELOPMENTS AND

CINECHROME LABORATORY

2125 Thirty-Second Ave., San Francisco, Calif.
Since 1938

WESTON 50. TUNGSTEN 32
8mm — 25 ft. Double 3 (Lots of 6'.. $1.50 ea.

16mm — 100 ft. (Lots of 6) 4.00 ea.

Wmm- Magazine — 50 ft. (Lets of 61 2.45 ea.

24 Hour Laboratory Processing Included

B S. W FILM PROCESSING— ANY BRAND

Smm 25 ft. Double S — 60c;

16mm 100 ft. — 80c: 16mm 50 f;. — 60c

B & W FILM DUPLICATING

13mm to Smm 6c per 16mm ft

ionim to 16mm 4c per 16mm ft.

ARCO MOVIE FILMS. INC.
Dept. 301. 8616 Fourth Ave.. Brooklyn 9. N.Y.

Maxim winner screened The first public screen-
ing of the year's Maxim
Memorial Award winner — The Gannets, by Warren A.
Levett, ACL, of West Hartford, Conn. — was, traditionally,
the highlight of the December meeting of the Hartford Cin-
ema Club. The group was founded by Hiram Percy Maxim,
FACL, in 1926, and has currently as a member Percy
Maxim Lee, FACL, donor of the Award in memory of
her father.

Other 1950 Ten Best winners seen on the program
were Circus Time, by George Merz, ACL, of Clifton, N. J. ;
The Barrier, by Glen H. Turner, ACL, of Springville,
Utah, and Hands Around the Clock, by William Messner,
ACL. of Teaneck, N. J. All of the films were accompanied
by sound on magnetic wire.

Edmund Zacher, ACL, president of the Hartford Cin-
ema Club, presided at the gathering, with Mrs. Lee pre-
senting the Maxim Award in person to Mr. Levett. James
W. Moore, ACL, and Don Charbonneau, ACL, repre-
sented the Amateur Cinema League at this gala meeting.

Chicago December meetings of the South Side Cin-
ema Club, of Chicago, featured Spotlight on
Alaska, by Father Hubbard, the "glacier priest," and the
annual club Christmas party. This month's sessions will
be Members' Night and another feature film night. Grace
Hall and her vacation film of the United States and
Alaska, and a western travelog by Viola Jelke, will make
up the members' program. The feature film for the latter
evening was not announced.

Long Beach Election of officers for 1951 resulted in
Forrest Kellogg, ACL, becoming new
president of the Long Beach (Calif.) Cinema Club. First
vicepresident is Kyle Holmes, with Earl Everley as sec-
ond vicepresident. Phyllis Weethee is secretary and Larry
Newberger treasurer. A. Warren Nash, ACL, and Al Lar-
rabee, ACL, were named directors.

The midfall meeting was devoted to members' films,

PERCY MAXIM LEE, FACL, donor of Maxim Award, gives replica of
trophy to Warren A. Levett, ACL, 1950 winner. Edmund Zacher, ACL,
left, Hartford president, and James Moore, ACL, of League, look on.

The people, plans and programs of

amateur movie groups everywhere

as follows: The Quest for Black Gold, by Mr. Nash;
An Excuse for Murder, by Jack Lloyd; The Shrine on
Parade, by Mr. Kellogg; Behind the Scenes, by Mary
Alice Eubank, and Indian Ceremonial at Gallup, by Fred
Barber, the last named with sound on tape.

Philadelphia The December gathering of the Phila-
delphia Cinema Club was arranged by
members of the city's northeast district, with Norman C.
Birks in charge. The program included Cruising on the
Lorelei, by Alexander McCalmont; Ice Capades of 1951,
by Mr. Birks; Zion and Bryce Canyons, by Belford Neff,
and Bicycling on Cape Cod, by Jesse H. Haines.

Long Island meetings The Long Island (N. Y.)

Cine Club. ACL, devoted a
midfall meeting to cutting and editing the club leader. A
subsequent session was given over to Clinic Night, dur-
ing which members' films were screened and discussed.
Recently the group had the pleasure of seeing three films
made by Bert Seckendorf, ACL, of Brooklyn, who was on
hand to present them personally. The pictures shown
were Symphony of The Village, Indian Summer and A
Christmas Story, the latter produced in cooperation with
Vic Watson.

Oklahoma guest Ralph E. Gray. FACL, League
vicepresident, was guest of honor
at a reception given by the Movie Makers Club, ACL, of
Oklahoma City on a recent visit to his home state. Mr.
Gray presented one of his Mexican films. Winners of
the club contest were also screened.

MMPC winners New York City's Metropolitan
Motion Picture Club, ACL, award-
ed first prize in its recent annual contest to John Caruso
for Crime in- Passion. Othon Goetz, ACL, received sec-
ond prize for From This Day Forward, while third place
went to Terry. Manos, ACL, for Vacation Highlights. The
judges were Frank E. Gunnell, FACL, Harry Groedel,
ACL, Herman Andresen, Sidney Moritz, ACL, Ernest H.
Kremer, ACL, John Hefele, ACL, and Ray Moss, ACL.

Peoria elects Caesar Dentino, ACL, has been chosen
president of the Peoria Cinema Club,
Inc., for 1951 in recent balloting. Elected to serve with
him were Dr. Fred Meixner, vicepresident; D. Raleigh
Carlton. ACL, continuing as secretary; Paul R. Marshall,
ACL. treasurer; Art Nordwall, ACL, publicity, and Sam
Trope, ACL. film librarian.

Milwaukee winners Joseph Salerno took first place

in the 8mm. class in the an-
nual contest of the Amateur Movie Society of Milwaukee,
ACL. The winning film was Father Plays Cameraman.
Howard Gennrich placed second with What's Stewing?,

MOVIE MAKERS

and Earl Peychal took third place for
Colorado Adventure. Runners-up were
1950 Chicago Fair, by F. Gitzl; Mega-
phone Menace, by Elmer F. Klug,
ACL; Dear Joe, by Saverio Salamone,
and Scenic Wanderings, by Martha
Rosche, ACL. In the 16mm. class first
place was awarded to Ray C. Fahren-
berg for his photoplay. Flabbergasted.
Second prize went to F. L. Kreznar.
ACL, for Vacation — 7950.

A midfall meeting of the club fea-
tured the screening of Red Feather
Parade, club unit production filmed
for the Community Chest. Hobarth 01-
sen headed the production unit as di-
rector. He was assisted by John Bakke.
Joe Salerno, Bob Lees, Charles Ferry,
Lu Gaedtke, F. Kreznar, ACL, Agnes
Muehlbach, Erma Niedermeyer, ACL,
and Mollie Sulewsky, ACL.

A# 8's Barry Dance became pres-
ident of the Los Angeles
8mm. Club in the recent election. Syl-
via Higgins was named vicepresident.
with Catherine Guerrieri as secretary
and R. V. Browning, treasurer.

Election night entertainment was un-
der the charge of Barbara Brookes,
home economist for Arden Farms, who
gave a short talk and presented The
Story of Milk, produced for the dairy.

Tri-City session

Members of the
Tri-City Cinema
Club (of Davenport, Iowa, and Rock
Island and Moline, 111.) enjoyed a pre-
sentation of films produced by Dr. Al-
bert N. Mueller, of Rock Island. The
pictures were Water, Chicago Fair,
California and Florida. Georgia T.
First, ACL, also presented a group of
Kodaslides.

St. Louis shows A late *aU meet-
ing of the Ama-
teur Motion Picture Club of St. Louis
featured a talk on lighting by Mr.
Feisley, of General Electric, and screen-
ing of the company's film, Family Al-
bum. Subsequent demonstration ses-
sions were devoted to a discussion of
color film, stressing the differences be-
tween Ansco Color and Kodachrome.
led by Norton E. Claypool, of Ansco ;
a showing of three-dimensional color
films and a discussion of techniques by
Mr. Bader, a local photo dealer.

Bristol elects In their recent elec-
tion, members of
the Bristol (Conn.) Cinema Club, ACL.
chose John E. Wilson as president for
1951. Earle H. Sparks, ACL, will serve
as membership chairman and Lee E.
Paulmann. ACL, as secretary-treasurer.

Kansas City 8-16

The 8-16
Home Movie
Makers, of Kansas City, Mo., have re-
elected by unanimous vote John C.
Sherard as club president; Robert C.

Davis, vicepresident: Herman B. Dav-
is, treasurer; Virginia Schneikart, ex-
ecutive secretary. This marks the fourth
consecutive term for founder-president
Sherard.

The club held its third annual 16mm.
salon during the fall. The program fol-
lows: Tioo Sons, by Lawrence Conrad;
Day Camping, by John Booz; North
Country Adventure, by Harold Cramer,
ACL; Trail to the Rainbow, by Robert
C. Davis ; Big Thrill, by W. C. Murray,
and October in Colorado, by Hugh
Moad, ACL. A presentation of trophies
followed the screening.

Ottawa session A demonstra-
tion of the val-
ue of sound with films was presented
at a recent meeting of the Ottawa Cine
Club of Canada. Lest Old Arts be Lost,
an 8mm. film by Elizabeth Edwards,
was first projected silently. A tape
recording was then prepared, and the
two synchronized for a second screen-
ing. The Revere and Ampro tape rec-
orders were exhibited and demonstra-
ted in connection with the show.

Minneapolis Tne Minneapolis
Cine Club, ACL,
held a pre-holiday screening. Pictures
shown included Arizona, by C. V. Egek-
vist; South to Key West, by Ray Kull-
berg; Victory Garden, by G. W.
Thompson, and an untitled film on
autumn in New England by Jim Brown,
who offered a prize for the best title
suggestion. The club's Christmas party
was held at the Women's Club again
this year. Bob Kleinman was in charge
of arrangements.

The Minneapolis Octo-Cine Guild
had the opportunity to study the travel
films of Europe brought back by mem-
ber Russ Wilcox at a pre-holiday gath-
ering. The club's Christmas party was
held at Stouffer's Restaurant. Laurie
Peterson and Austin Frisk headed the
Christmas arrangements committee.

New in N. J. A new amateur
movie group has
been organized in New Jersey under
the name of The Plainfield Cinema
League, ACL. Club president is Dr.
Barney A. Polskin. Joseph De Caro is
secretary-treasurer, and William Wils
serves as program director.

Filming enthusiasts in and around
Plainfield wishing to join the group
should contact the secretary, Mr. De
Caro. 234 Martine Avenue, Fanwood,
N. J., or Dr. Polskin. 115 West 7th
Street. Plainfield. Meetings will be held
on the first Tuesday of each month at
8:00 p. m. at Dr. Polskin's address.

Precision Engineered Movie Camera by
Europe's Finest Camera Craftsmen.'

Valley 8mm.

Ladies Night of the
Valley 8mm. Club,
of North Hollywood, Calif., featured a
film competition for the club's distaff
side. Top award went to Mrs. Ed Gar-

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CAMERA SPECIALTY COMPANY, INC. —
50 West 29th Street New York 1, N. Y

Two 3< stamps for giant catalogue. State size.

8-16mm Silent, Sound,
Sales, Rental, Exchanges.

REEO & REED DISTRIBUTORS, INC
7508 3rd AVE., BROOKLYN 9, H. Y

HOW TO GET PROFESSIONAL MOVIE
AND SLIDE TITLES AJ LOW COST!

Step up slide and movie shows with professional
Titles . . . Get quality that only 20 years' experience
can give . . - Same Titles formerly distributed by
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tion of backgrounds.

SEND FOR FREE sarxples and illustrated brochure.
TITLE-CRAFT. Dept. M. 1022 Argyle St., Chicago 40, III.

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IT'S NEVER TOO LATE TO VACUUMATE

Available through your local dealer or at

VACUUMATE CORP., 446 W. <13rd St., New York,
and in these principal cities: Detroit, Mich., Wash-
ington, D. C, Chicago, III., San Francisco, Calif.,
Hollywood. Calif.. Portland. Ore., Kansas City, Mo.,
Raleigh, N. C, Manila, P. I.. Canada.

Classified advert is i

"§

■ Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.

■ Movie Makers does not always examine the
equipment or films offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

B BASS SAYS : Help Bass clean house ! Some guar-
anteed Buys. Charles Bass, President. B. & H. Sports-
ter 8, f/2.5 lens, like new, $67.50; B. & H. Tri-
Lens 8 Turret, %" f/1.9 focusing, 1%" Tele f/3.5,
f/2.5 W.A. attach., Comb, case, S167.50; B. & H.
TOD, 1" //1.5, 2" //3.5, 4" f/H.5, Comb, case,
$257.50: Keystone A-7 16mm., f/3.5 lens, $37.50;
16mm. Cine-Kodak Model K, f/1.9 lens, $97.50;
16mm. Cine-Kodak Special, 1" f/1.9, 17mm. W.A.
//2.7, 2" Tele //2.7, 4" Tele //2.7, set of ext.
tubes, Comb, case, $675.00; 16mm. Zeiss Movikon,
Sonnar //1.4 cpld. R.F., $317.50. Get Bass quotes
first for cash or trade deals. BASS CAMERA COM-
PANY, Dept. CC, 179 W. Madison St., Chicago 2,
III.

■ SYNCHRONOUS motors installed, projectors, cam-
eras, $150.00. Projector governors 16-24 speeds, $82.50.
16mm. only. M. W. Palmer, 468 Riverside Drive,
New York.

■ NEW YEAR'S SPECIALS: Bell & Howell sound
projector, two cases, excellent, $145.00. Diplomat
projector, $150.00. Bolex H-16, 1" f/1.5 lens, $195.00.
Filmo A, 1" //3.5 lens, $75.00. Semi-professional
tripod, $59.50. We buy, sell, trade, all 16-35mm.
motion picture equipment. THE CAMERA MART,
Inc., 70 West 45th Street, New York.

■ WORLDS LARGEST SELECTION OF FINE
MOVIE LENSES- -Guaranteed, available on 15 day
trial. In focusing mounts for 8mm. cameras: y%'
f/1.9 Wollensak Raptar (coated), $45.70; 1%"
//3.5 Cine telephoto, $34.50. In focusing mounts
coated for 16mm. cameras: 17mm. //2.7 Carl Meyer
wide angle, $44.50; 2" //2 Schneider Xenon, $99.50;
3" //2.8 Carl Zeiss Tessar, $109.50. These are only a
few of the bargains in our tremendous stocks. Write
today for complete lens listing. BURKE & JAMES,
Inc., 321 So. Wabash Ave., Chicago, 111. Att : M. M.
James.

FILMS FOR RENTAL OR SALE

9 CASTLE films for sale: 8mm. -16mm. silent and
sound: comple'e stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities. Animals, Flowers, etc. Sets of eight,
SI. 95; sample & list, 25<?. SLIDES, Box 206, La
Habra, Calif.

■ USED and new Castle films : 8-16. silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 500.
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C. New York 16, N. Y.

■ CLEARANCE SALE of 16mm. Films. Want a
real buy in 16mm. sound films? Take advantage of
the I.C.S. 1950 Clearance Sale of 16mm. sound
FEATURES: comedies, cartoons, novelties, musicals,
new, used. Specify. Send for our giant list "A"
today, stating machine you own (make and model).
INSTITUTIONAL CINEMA SERVICE, Inc., 1560-M
Broadway, New York 19, N. Y.

■ 1951 ROSE PARADE MOVIES. Kodachrome.
Colorful floats! Beautiful girls! 16mm. 200 ft., $29.95.
8mm. 100 ft.. $14.95. C.O.D.'s acceptpd. California
add tax. AVELON DAGGETT, 441 North Orange
Drive, Los Angeles 36, Calif.

9 THE biggest stock of 16mm. films in the world —
over '100,000 prints on hand! New 1-reel $17.50
16mm. sound films low as $3.95; new 1-reel $8.75
16mm. silents, $1.98 up. All first quality prints in
original cartons. Used Panoram 100' 16mm. musicals,
$9.95 pel dozen. Equally attractive bargains in good
used feature pictures, cartoons, sports, comedies,
travels. Big selection of used, 16mm. sound projectors.
Save on new and used reels and cans, projection lamps,
and other supplies. Write today for your copy of
Blackhawk's big catalog 10J. "Sixteen's Super Mar-
ket." BLACKHAWK FILMS. Inc., Davenport, Iowa.

MISCELLANEOUS

■ KODACHROME DUPLICATES; 8mm., or 16mm.,
11^ per foot. Immediate service on mail orders.
HOLLYWOOD 16MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd.. Hollywood 28, Calif.

B NO NEGATIVE ? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements,
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete studio
and laboratory services. Color printing and lacquer
coating. ESCAR MOTION PICTURE SERVICE, Inc.,
7315 Carnegie Ave., Cleveland 3, Ohio. Phone:
Endicott 2707.

■ TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
five from your moviefilm. or one colorprint from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 1187 Jerome Ave., New York 52.

■ 16MM. SOUND movie camera for rent. Write
ANTHONY IOVINO, 86-01 Commingwealth Blvd.,
Bellerose, N. Y.

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WILL THEY FIT
MY CAMERA?

Second in a series important to
every amateur, "Will They Fit MY
Camera?" this time surveys the
entire line of Kern-Paillard lenses.
The article will tell you specifically
whether this, that or the other lens
may be used with your 8mm. or
16mm. camera, whether an adapter
is needed, and so on.

Don't miss "Will They Fit MY
Camera?" in

February
MOVIE MAKERS

JANUARY 1951

wood for her comedy, Breakfast in Bed.
Second prize went to Mrs. John Fitch-
ner, for Dumb Bunny. Laugh, Ladies,
Laugh, by Mrs. David Jenks, received
third prize. In fourth place was Pickled
Peaches, by Mrs. Philip Cook.

The judges were Mrs. Les Williams,
Southwest 8mm. Club; Mrs. Charles
Peters, Los Angeles Cinema Club, and
Mrs. Eugenia Elliott, ACL, Los Angeles
8mm. Club.

The club meets on first Fridays at
historic Campo de Cahuenga Club-
house. Interested amateurs may contact
Neva Bourgeotte. at 4639 Coldwater
Canyon Avenue, North Hollywood, or
phone Sunset 3-2202.

Chicago ^he annual banquet and
installation of officers of
the Chicago Cinema Club, ACL, was
held this fall at the Chicago Bar Asso-
ciation building. Charles Lonk accepted
the president's chair. Other officers
chosen were Mrs. Clarence Koch, vice-
president; Mrs. Keith Nowell, secre
tary. and Sherman Arpp, treasurer.

On February 1 the club is sponsor-
ing its Super Gadget Night, in which
many other Chicago clubs will partici-
pate. A "bazooka" (36 inch telephoto
lens) and a four-lens turret are only
two of the unusual features to be ex-
hibited. The club meets in the Civic
Opera Building. All are welcome to
attend.

Northern Calif. A new slate of

officers was chos-
en for the Northern California Council
of Amateur Movie Clubs, headed by
Emerson Owen of San Jose Movie Club
as president. Other officers are Gordon
Robertson, Bay Empire 8mm. Movie
Club, ACL, first vicepresident ; Joseph
Pancoast, ACL, Richmond Movie Club,
second vicepresident; Clyde Evans, ACL,
treasurer, and William Crowell, ACL,
secretary, both of the Westwood Movie
Club.

Schenectady Tlie Christmas par-
ty of the Movie
Group. Schenectady (N. Y.) Photogra-
phic Society, ACL, was built around
the 1947 Ten Best winner. Magic Stair-
way, by Harlan Webber, ACL, now
president of the society. A number of
surprise holiday features also were on
the program, as well as refreshments
in keeping with the season.

Rockford party

A festive pro-
gram brightened
the holiday slate for members of the
Rockford (111.) Movie Makers, ACL.
Two Christmas films, // Santa Claus
Stayed and Christmas Toy Shop, by
Arnold Lundgren, were features of the
gala program arranged by Floyd Ros-
ene and Don Anderson. Santa himself
was on hand to pass out gifts to the
children of members and those from

MOVIE MAKERS

the Rockford Children's Home, who
were special guests for the occasion.
Community singing, special entertain-
ment and abundant refreshments
rounded out a festive night.

Seeburg session A recent gath-
ering of the
Seeburg Camera Club, of Chicago, fea-
tured a screening of a Shell Oil Com-
pany film, 10,000 Feet Deep, and an
8mm. Kodachrome film by Al Koch.
A subsequent meeting took place in
the home theatre of club president J.
H. Boulet, jr., ACL. Members' films
and slides were shown, plus a travelog
of the Canadian Rockies made by Mr.
Boulet.

Oak Ridge A meeting of the Oak
Ridge (Tenn.) Cine-
ma Club, held recently at the Ameri-
can Museum of Atomic Energy, fea-
tured a screening of Engineering for
Radioisotopes, by Tom Trent, ACL. On
the same program were The Great
Smokies and The Happiest Man on
Earth, the latter film based on an 0.
Henry Memorial Award short story.
The producers' names of these two
films are not known.

Berkeley guest D°n Flagg. pro-
fessional filmer,
was an honored guest at the Decem-
ber meeting of the Berkeley (Calif.)
Movie Club. He gave a talk on the pro-
duction of industrial and television
films and screened some of his own
work. Arthur Hart projected his 16mm.
Kodachrome film, Solitude, and Dr.
Frank Burton, ACL, and Mrs. Burton
showed two of their Christmas films.

Omaha programs Two Pro-
grams of in-
terest were presented on the fall sched-
ule of the Omaha Movie Club. The
films shown included Trip to Florida,
by W. R. Tatman; Around Lake Michi-
gan, by C. H. Swindler; Trip to Den-
mark, by Jens Jensen; Coronation of
1950, by Mrs. J. G. Kretschmer, and
Rocky Mountain National Park, by
Jewel Bockwitz, ACL. The club meets
every fourth Friday in the Joslyn Mem-
orial.

Aussie winners A record entry
of thirty one
films, representing all states in Australia,
made this year's Five Best competition,
sponsored by the Victorian Amateur
Cine Society. ACL, one of the best
since the war. The winners were The
Little Imp, by R. L. Greenwood; A
Letter to Mary, by L. Piatt and R. H.
Norgate; Wings Over the Sea, by W.
D. Burns: Out to Lunch, by Len Mon-
tagu, ACL. and Homeward Bound, by
Max Knobel. The President's Trophy
and the PJP Award went to The Little
Imp. The Home Cinemas Award (for

the best 9.5mm. film) was given Denzil
E. Howson for Village History. It is in-
teresting to note that the three top
winners were in black and white.

Entries for D. C. The first of the

monthly entries
in the annual contest of the Washing-
ton Society of Amateur Cinematogra-
phers were screened at a pre-holiday
meeting. These were Day's Journey, by
Philip A. Simpson, ACL; Apple Blos-
som Festival, by Elias E. Pederson.
ACL; Long Lake Holiday, by Daniel
M. Friedman. ACL. and Flight to hvo
Jima, by Richard H. Parvin, ACL.

Common Mistakes and Their Correc-
tion, a Harmon Foundation instruction-
al film; a demonstration of projection
conducted by Harold Wagar. and a talk
on editing given by Major W. A. Ander-
son, ACL. preceded the screening of
contest entries.

Cincinnati The nrst 0I sucn Pr0"

jects to come to hand
since cessation of hostilities of World
War II, the Cincinnati Movie Club is
busy drawing up plans for a series of
civil defense training films. Planned
as group productions, the films are be-
ing made at the specific request of the
city government. Other film clubs might
take their cue from this and offer their
services in like manner to their respec-
tive communities.

Winnipeg program The Novem-

ber meeting
of the Winnipeg Cine Club, in Canada,
featured a talk by H. E. Rasmussen.
Photographic Lenses and Their Uses.
Lenses actually made by Mr. Rasmus-
sen were displayed.

On the screen were Picnic Short, a
film of the club outing by Bill Cross,
and Highway 61, a travelog by Anna
Doupe with sound on disc. Refresh-
ments followed the program, with
Mesdames Gibson and Peterson serying
as hostesses.

Milwaukee Tne midfall program
of the Amateur Movie
Society of Milwaukee, ACL, featured a
showing of the first rushes of Red
Feather Parade, club filming project
produced for the local Community
Chest. A technical discussion followed.
Also screened were Mexico and the
Gaspe, by Al Huennekens. and The
House on the Hill, by Selma Preuss,
ACL.

An added attraction was the showing
of stereo slides taken by Bill Verburgt,
Mibs Rheingans, Al Wudke and Mr.
and Mrs. Sonnemann.

AACC The Associated Amateur
Cinema Clubs, in Chicago,
presented its annual Show of Shows
last month. The feature picture was
On the Highways and Byways of Mex-

Announcing—

Three Rare New Subjects

WILD ANIMAL FILMS

Complete life cycles of ■•COYOTE," "SAGE
GROUSE" and "CANADA GOOSE" taken by
famed Eberhart organization. Orders of 3 or
6 reels shipped in beautiful hand-finished
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Choose any assortment of the following —
"Coyote" "Canada Goose" "Sage Grouse"
"Busy Beaver" "Bears!" "Spotted Fawns"
"American Bison" "Leaping Tuna" "Bocky
Mountain Elk" "American Deer" "Big Horn
Sheep" "Moose!" "Prong Horn Antelope"

8MM Black A. White. . . Box of 3 $ 5.95

(each reel 50') Box of 6 10.95

8MM Kodachrome Box of 3 18.95

(each reel 50') Box of 6 36.45

I6MM B & W Box of 3 10.95

(each reel 100') Box of 6 21.45

I6MM Kodachrome Box of 3 45.95

(each reel 100') Box of 6 90.45

We ship postpaid. Send check. cashorM.O. to:

WILD LIFE FILMS CO.

Dept. MM- 1 6063 Sunset Blvd.

HOLLYWOOD. CALIF.
Free Sound and
Silent Catalog

2!4 x 314 COLOR PRINTS 50c each

Price of larger prints on request
From 8 and 16mm Color Film

Send 3 frames or tie thread next to frame
desired. Add 25c handling charge on
orders of less than $5.00. No C.O.D.'s.

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This colorful emblem of an active filmer is
described in detail on the inside front cover.

GET YOURS TODAY!

6MM~~16MM
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FILMS & EQUIPMENT

• NEW AND USED . . .

SOLD FOR CASH OR ON TERMS . . .

• We also buy your films and equipment.

• We trade either films or equipment.
Doing business all over the world.

• Our bargain lists are free. If you haven't
our discount card, ask for one.

Here's some samples:
Kodak 33 8 MM projector, perfect $55

1200' reels or cans $1.00 each

NATCO S.O.F. projector $225

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#5 Little Bldg., Boston, Mass.

JANUARY 1951

THE ACL LEADER

signature of a
GOOD FILM

To all ACL Members:

Yes, we've put in 18 re-orders for
the ACL Full Color Leader — and
still your orders are pouring in.

If you haven't ordered your ACL
Leaders yet, you're missing all the
glow and sparkle that the beautiful
color footage will add to your fin-
ished films.

Against a dark background, the
earth — with the continents vari-
colored against the rich blue seas —
revolves slowly until the sparkling,
crystal letters ACL fade in across the
sphere's curvature.

Then a narrow band of brilliant
red, bearing in white, raised letters
the word MEMBER, swings across
the globe. A second band of red,
with AMATEUR CINEMA in white,
zooms in from the right and is fol-
lowed by a third red band, with the
word LEAGUE.

A smooth lap dissolve follows, and
across the same three red panels ap-
pear the words WORLD WIDE AS-
SOCIATION OF MOVIE MAKERS,
in gleaming white letters. These,
together with the sphere, then slowly
fade out.

There's still more: the trailer. As
your film ends, you fade in once more
on the slowly spinning earth — and
a brilliant red band sweeps diag-
onally across it, announcing in large
white letters THE END.

Cordially,

JAMES W. MOORE
Managing Director

P.S. 16mm. leaders are 14 ft.; 8mm.,
7 ft. — same running time.

If you are not yet a member of the
Amateur Cinema League, see the inside
back cover of this issue for complete
information and an application blank.

AMATEUR CINEMA LEAGUE. Inc. 1.51

420 Lexington Avenue
New York 17, N. Y.

Yes, as a member of ACL. I certainly want several
of the beautiful new Kodachrome leaders. I enclose
my check or money order for:

16mm. Kodachrome leaders at $1.50 each

8mm. Kodachrome leaders at $1.00 each

Street.
City

ico, photographed by Larry Randall,
ACL, of the South Side Cinema Club,
and narrated by Lou Bohlin. vicepresi-
dent of the AACC.

The second half of the program in-
cluded Country Life, by Oscar Berg-
man, of the Edison Camera Club; Her
Heart's Desire, by Othon Goetz. ACL,
of the Metro Movie Club, ACL; Adven-
tures in Snap Shooting, by William
Ziemer, president of the Metro Movie
Club; Honey Harvest, by William W.
Vincent, jr., FACL. of the Kenosha
Movie and Slide Club, ACL, and It
Shouldn't Happen to a Dog, by Gerald
Richter, of the South Side Cinema Club.

Australia The 1950 Gold Cup Com-
petition, sponsored by the
Australian Amateur Cine Society. ACL,
was won by A. T. Bartlett, of Brisbane,
Queensland. Give Us This Day was the
trophy winner's entry, running 700 feet
of 16mm. Kodachrome with sound on
disc. Second and third place honors
went to H. Sothern. also of Brisbane,
for Sojourn in Northern Italy, and L.
Montagu, ACL, of West Australia, for
Out to Lunch.

Asheville agenda The crowded

but interest-
ing fall season of the Smoky Mountain
Movie Club included the annual con-
test, an outing, election and the annual
banquet. Newly elected officers are
Josephine McDaniel, ACL, president;
Robert Campbell, vicepresident. and
Betty Rose Jayne, secretary treasurer.
The club's outing took the form of
a weiner roast, staged at Bent Creek.
The new officers were installed at the
banquet, after which awards were made
to winners of the contest. Dr. Schell
took top honors in the 8mm. class for
The Deep South. Second and third
places were filled by O. R. Powell, for
The Circus, and Joe McDaniel. for
The Fence. Thor Behrens, ACL, led the
16mm. filmers with Paquita Dolls.
Goose Hunting, by Dr. Chapman, and
Asheville Highlights, by Zeb Fox, ACL,
were in second and third positions.

NEW OFFICERS for Peninsula Home Movies
Unlimited, in California, pose for their por-
trait. Seated (I. to r.) are Lloyd Masch, re-
cording see'y.; John A. Gorman, ACL, presi-
dent; Al Baker, treas.; standing, Ralph Swiclc-
ard, sec'y.; Herb Holloway, vicepresident.

Westwood agenda The West-
wood Movie
Club, in San Francisco, was host last
month at the regular monthly session
of the Northern California Council of
Amateur Movie Clubs. The October
club meeting featured a discussion of
exposure meter technique, led by Leo
Kerkhof. A screening of San Francisco,
in 8mm. Kodachrome by Mr. and Mrs.
Morton Thomas, followed the talk.

Westwood will be guest on the radio
program, Filming for Fun, on Sunday,
December 31. The program, conducted
by Clyde Evans, ACL, is aired over
KLX, San Francisco, every Sunday at
12:30 p.m. Westwood club members
will be interviewed and activities of the

group discussed.

* *- *

ALTHOUGH it is a useful gadget at
anytime, a lens shade is almost an essen-
tial to avoid reflections in snow Aiming.

* * #

S. F. oldies 01d Picture Night, a re-
cent special event con-
ducted by the Golden Gate Cinematog-
raphers, ACL. featured a 25 year old
film made on a hand-cranked Keystone
by member Pellegrini. Father's Day and
Yosemite, made fifteen years ago by
George Sohst, and School Days and The
Fall of the Alley Gang, by A. Theo
Roth, ACL, made about seventeen years
ago, followed. A relatively new film,
The Inside of a Chair, by Per Rasmus-
sen, completed the screening.

In the election that preceded the
meeting, A. Hauchildt was chosen presi-
dent for the coming year, with R. Alex-
ander as vicepresident. A. W. Balzarini
and H. Ketjen are. respectively, treas-
urer and secretary.

JACK SHANDLER, and Mrs. Shandler, of the
Los Angeles Cinema Club, thread up for a
screening of Paradise of Mid-Pacific before
members of Long Beach (Calif.) Cinema Club.

WANT TO JOIN A MOVIE CLUB?

Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address: Clubs, Amateur Cinema
League. 420 Lexington Avenue,
New York 17, N. Y.

MOVIE MAKERS

The clinic

[Continued from page 20]

ends. Voila! When not in use, the entire
business may be rolled up and carried
in your jacket pocket or camera case.

Charles Artus, ACL
Entretat, France.

REVOLVING TITLE BACKGROUND

If any filming fan wants a knockout
moving background for the lead title of
his Christmas reel, I urge him to run,
not walk, to his nearest package store
(liquor dealer, that is). There he may
be able to beg or borrow the moving
holiday display put out this season by
the Four Roses people.

The gadget consists of a large plastic
l)all geared to a tiny electric motor
which revolves it at four revolutions per
minute. This speed is ideal for one of
those lead titles which move slowly
across the face of the screen and off.
Your letters, of course, should be
mounted on the curved surface with
some sort of adhesive.

George J. Wieland
"Woodside, N. Y.

HANDY FILM CLEANER

After repeatedly misplacing that soft
■piece of velveteen I use for film clean-
ing. I decided to anchor it down in some
way where it always would be handy.
Now I have two small blocks of wood,
Tiinged together at one end and with
their inner faces covered with strips of
velvet. In use. the strips are moistened
Tvith cleaning fluid, the blocks clamped
lightly around the film as it passes from
one rewind to the other.

Some provision should be made for
changing the cloth strips as they be-
come too dirty for further use. And if
you're real forgetful, you can screw the
the gadget down to the rewind board.
Solomon Kessler, ACL
Portland. Maine

Winter projects

[Continued from page 14]

■process filmed. Ask your local Chamber
of Commerce for suggestions. Your com-
munity might be interested in a movie
of the public school system. Or perhaps
a movie study of the public library or
local hospital — as suggested in Novem-
ler Movie Makers.

Yes, by putting your movie equip-
ment to work instead of letting it hiber-
nate during the long days, you'll keep
"in training." You'll find that as an
amateur cinematographer you're on your
toes and rarin' to go by the time the
snows melt and the first crocus pops
through the soil. Give it a try. Your
imagination and some film are all it
takes.

Behind-the-lens filters

[Continued from page 11]

Creation of these tweezers is easy.
Take any ordinary tweezers of the cor-
rect size, heat the tips in a gas flame
and bend them gently sideways. Any
jeweler can perform this operation for
you, if you feel you can't handle it
yourself. Now, so that the filter may be
inserted and withdrawn from its cam-
era position with the tweezers, cut a
small notch in its edge with an ordi-
nary ticket punch.

All of this tweezer business may
sound as if the lacquered gelatin filters
were uncommonly delicate. This is not
wholly true. While they should be han-
dled carefully to avoid fingermarks and
scratches, so should glass filters and
indeed your lenses. Your lacquered fil-
ters may be cleaned with film cleaning
fluid, if necessary, and they are best
kept between sheets of soft white paper
in suitably labeled envelopes. Stored
in this way, a complete set can easily
be carried in your camera case with-
out any excess weight or sacrifice of
space.

A titling tell-all

[Continued from page 15]

distance and the correct diopter lens
to be used at this distance. By a simple
example, let us see how the nomo-
graphic chart will determine these
data.

We have decided, for instance, that
a title area 4 inches wide will be suit-
able for the size of letters to be used
or the picture background we have in
mind. First, we will need to know the
corresponding height of this area. En-
tering the chart along the Width-of-
Title-in-Inches scale, we place a straight-
edge on the 4-inch point and align it
with Pivot A. Reference to the Height-
of-Title-in-Inches scale now shows that
our title area must be 3 inches high.

The next fact we need to know is
how far the camera should be from our
title card so that its lens will just cover
this 4 by 3 inch area. We intend using,
let's say, the standard 1 inch lens on
a simple 16mm. camera. Again entering
the chart along the Width-of-Title-in-
Inches scale we place a straightedge on
the 4-inch point and align it with the
25mm. point of the Focal-Length-of-
Lens scale. Reading from the scale
marked Distance-of-Auxiliary-Lens-from
Title-in-Inches, we find that the correct
camera-to-card distance will be 20
inches. (Exactly the same finding, of
course, would result if we were using a

25mm., or 1 inch, telephoto on an 8mm.
camera.)

So far, so good. But the 1 inch lens
on our 16mm. camera is a fixed focus
unit and we know we cannot work as
close as 20 inches from the subject.
An auxiliary lens is needed; but what
diopter strength should it be? We now
enter the chart along the Distance-of-
Auxiliary-Lens scale, place the straight-
edge on the 20 inch distance just de-
termined, and align it with Pivot B.
Reference to the Diopter-of-Auxiliary-
Lens scale shows the desired strength
to be 2 diopters. With this auxiliary
lens over the fixed focus objective (or
on a focusing lens set at Infinity ) , our
title copy will be in perfect focus.

There remains now only the matter
of centering your title card. The nomo-
graphic chart cannot aid you in this.
But I can refer you to the simple and
excellent system outlined by Roy H.
Burgess, ACL. in Your Titles Will be
Centered; it appeared in the October,
1950, number of this magazine.

Getting "The Gannets

[Continued from page 10]

not hard to find. Part of Eric Coates's
Dancing Nights provides the introduc-
tion and carries through the locale-
establishing scenes. From this point,
parts of Swan Lake and Khachaturian's
Gayne ballet music fit the tempo to the
end. Recording was accomplished by
using two wire recorders; the narration
alone was recorded on one machine
and was then played electrically into
the second, at the same time as the
music was being fed into the second
recorder. Synchronization is maintained
at all times, using the technique de-
scribed in the April, 1949, issue of
Movie Makers.

Welcome to Tucson

[Continued from page 23]

sight until you have offered cigarettes,
passed candy to the children and ad-
mired the papooses. Most of the Indians,
especially on the reservations, expect to
be paid a nominal fee for posing," he
continued. "But don't overpay them
either."

DON'T MISS DUDE RANCHING

Another source of good action and
human interest will be found in Tucson's
20 million dollar a year dude ranch
industry. There are some seventy five
ranches in and around the city, so you
can take your pick. You will want
closeups of some of the name plaques
at the entrances, both because they are
good identification and because many
of them have unusual names and de-
signs.

One ranch will probably have a

JANUARY 1951

EXPERIENCE ISN'T EVERYTHING

FOR two years in a row, now, the Maxim Memorial
Award has been won by a fllmer with compara-
tively brief experience in our chosen hobby. War-
ren A. Levett, ACL, the 1950 winner, has been look-
ing through a 16mm. viewfinder for little more than
four years. Glen H. Turner, ACL, the top movie
maker of 1949, had only two and a half years of
8mm. filming when his One Summer Day took the
treasured trophy. On the bare face of it, these facts
should lend encouragement to all.

But don't let them mislead you. There are a number
of important aspects of making a good movie which
are not indicated by — nor may they much depend on
— one's length of filming experience. While we do
not pretend to have foregathered them all here, a
few which do occur to us are the following:

First of all, the filmer must have within himself a
genuine desire to improve his pictures. Without this
enthusiasm, ambition and resolve, experience may
well mean nothing. (Each of you must know a ten,
fifteen or twenty year movie maker who still has not
made a real movie!) With this resolve, however,
nearly any accomplishment may be within your reach.

Improvement, however, cannot feed on emotion
only. Growing skills are sinewed by growing knowl-

edge— and knowledge means study. Along with an
intelligent eagerness to know the "whys" and "hows"
of movie making, growing knowledge also entails a
sizable assortment of growing pains. Spurred on by
his ambition, the imaginative filmer's concepts will
for some time outstrip his technical abilities to attain
them. There will be setbacks and disappointments.
And so, along with resolution and study, the fine-
filmer-to-be will need patience and perseverance.

On the less technical side, there are still other
talents which must flower with one's camera skills.
An appreciation of good composition contributes
much. A sense of "story" development (not neces-
sarily in photoplay form) is important. And a true
understanding of what makes a movie is mandatory.

With some of us these abilities and instincts develop
quickly. With others, the development is slow and
arduous — and with others, not at all. Sooner or later,
however, at some moment which no one of us can
predict — saying, "I, in two years, three years, five years,
will be a fine filmer" — sooner or later all of the magic
elements are present. Smoothly, then, each melds with
the other, and a great movie is the result.

Experience, intelligently used, may hasten that mo-
ment. But it alone can never guarantee it.

THE AMATEUR CINEMA LEAGUE, Inc.
Founded in 1926 by Hiram Percy Maxim

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

DIRECTORS

Ralph E. Gray, Vicepresident
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Six dollars a year.

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE.. NEW YORK 1 7, N. Y.. U. S. A.

group starting out on a ride over desert
trails into the rolling foothills. You
might go along. Try to get the bright
colored shirts and levis against scenic
skies and country. Or you might prefer
to stay around the ranch swimming pool
and line up some pretty girls in fancy
cowboy togs or sun shorts.

At other ranches you can find groups
of dudes having a chuck wagon supper
around a crackling campfire. playing
shuffle board, having an outdoor fashion
show, a square dance or a barbecue —
any number of activities that will keep
your footage counter ticking. You'll be
impressed with the friendliness of the
people, especially the ranch owners.
After all, there might be a potential
dude or dudine among your friends
who see the film. ,

FIESTA IN FEBRUARY
You'll get more outdoor action every
February when all of Tucson puts on
its Western outfits and throws the an-

nual Fiesta de los Vaqueros. In the
parade, the only one in the country
barring motor-powered vehicles, literal-
ly hundreds of horses carry riders,
draw carts and old carriages, stage-
coaches and other relics of the West.
Indians in native costumes, drum corps,
marching units, strutting majorettes,
floats in the Old Western themes, scores
of riders in beautiful regalia, the
Sheriff's posse all mounted on golden
Palominos — everyone gets into the act.
Even the spectators must dress West-
ern or risk getting thrown into the
portable hoosegow and fined. The pro-
ceeds go to charity.

The parade route is published in the
newspapers in advance. The parade be-
gins at about ten o'clock in the morn-
ing, but you'll have to get there early
if you want a good camera position.
Pick a nice building or a section of the
park for your background, and don't
forget some human interest closeups
and angle shots for cut-ins.

ROUGH RIDING AT RODEO
After the parade there will be all
manner of exciting doings at the rodeo
— bull and bronc riding, calf roping
and tying, team tying, bull dogging,
trick riding and all the rest. Amateur
photographers are kept out of the arena
for their own safety. More than one
angry Brahman bull has sent a camera-
man and his equipment sailing sky high,
while snorting horses stomp on avail-
able toes. But don't despair. Get a seat
in the grandstand as near to the chutes
as possible. If you have never covered
a rodeo before, it is a good idea to do a
little dry shooting before you begin in
earnest. It isn't easy to keep a rearing,
pitching, unpredictable animal in your
finder.

And to end your film there are many
out-of-the-world sunsets to be recorded.
It has been done before, but somehow
there is no ending quite so satisfying
and conclusive as a beautiful Western
sky.

BEGIN THE NEW YEAR RIGHT!

AND MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just

as it has advised and aided more than 100,000 A GUIDE TO

■■.I'jfi

other movie makers:

AS A MEMBER YOU RECEIVE

I -The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

AMATEUR CINEMA LEAGUE ,< INC.

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 23 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking. Current booklets
are: The ACL Data Book; Featuring The Family; Building a
Dual Turntable.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

1-51
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, ond
all the League services for one year. I enclose re-
mittance for $6 (of which $2 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

1 Name_

■ Street-

I City

Zone State-

-inchT2.7 (f/2.5) B&H Super
Comat. Standard C mount for
16mm cameras. Click CnQQ^
stops. Filmocoted. ^0 \j

Announcing newest

famous Bell sHowel
ftmilu of fine lenses I

( ;iv of movie lenses
Newest addition to the W» *™£, Hobson Cooke
is the very fast l-««* *£ "' g0%, greater resolution
SSt It gives : from ^"ofTe PiCutes than an,

*£?SS^ ^hXX^-inoh iens. Bell

With the addition rf thgnm rf seve„ out-

& Howell brings you the fif* » ^ twlce the

standing lenses, Each en ^ .^^ e»

member in the

.J-inch f/1.4 Taylor Hobson
Cooke Ivotal in focusing
mount. Unusual resolving
power for sharpest defini-
tion. Finest color correc-
tion. Click stops. Depth of
field scale in dis- e ■* ■» A nc
tinguishing red. * | / JJ

inch T 1.6 (f/1.4) Taylor
Hobson Cooke Ivotal. Stand-
ard C mount for 16mm cam-
eras. Click stops. Filmocoted.
(Also available for B&H snap-
on mount 8mm (1*7(101:
cameras) 1/3

^-inch T 2.5 (f/2.3)
Taylor Hobson Cooke Pan-
chrotal. Standard C mount f or
16mm cameras. Extra legible
depth of field scale. Click
stops. Filmocoted.

$18250

-inch T 2.5 (f/2.3) Taylor
Hobson Cooke Panchrotal.
Standard C mount for 16mm
cameras. Extra legible depth
of field scale.Click stops. Filmo-
coted. Nearly 50% faster than '
the fastest of any other lead-
ing 4 -inch lens — 400% faster
than the slowest. 5900 95

Only Bell & Howell lenses give you these three advantages:

i Highest degree of correction yet
developed for 16mm film. Same
sharpness and contrast for all
lenses, regardless of focal length.

^•Uniform-step magnifica-
tion—just like the lenses
Hollywood studios use.

%3»Widest range from which to
choose. Complete family will
include seven superb lenses.

You buy for life when you buy Bell •£ HOW0.il

Chicago 45

WATCH YOUR ANGLES • COMMON LIGHTING ERRORS • BOLEX LENS SURVEY

What

mean

Five times every second— eighteen
thousand times every hour— your
Swiss watch is a masterpiece of pre-
cision. In twenty-five years, its escape
wheel has been hit four thousand million
times — only microscopically-ground
jewelled bearings and ten different types
of steel can take this
incredible beating.
For more than 150
years in the high
winter-locked cantons
of the Alps, the Swiss
have learned, and passed
from generation to gener-
ation, the secrets and skills of
intricate mechanism manufac-
ture. Your great grandpa was
proud of his Swiss-made key-
wound watch— your grandma,
her Swiss musical box. In father's
boyhood— the Swiss gramophone. In
sister's working day— a Swiss typewriter.
On your day off— a Swiss movie camera.
One hundred and fifty years have pro-
duced a brand of craftsmanship and skill
that can be aided . . . but never surpassed
. . . by modern mass production methods.
Behind every Bolex is this tradition of
combined craftsmanship— that of the
watchmaker— the engineer— the optical
designer— the physicist.

In the field of movie camera manufac-
ture, only the Paillard company has this
background of more than four gener-
ations of experience. And yet the Bolex
engineers are ever alert to new develop-
ments in movie-making. No other camera
in its price class even approaches the
versatility or performance of the Bolex —
no other movie camera can offer the
same economy of actual film production
coupled with simplified, positive-action
spool loading. There are no second
thoughts or after thoughts about a Bolex
—the camera that is first with so many
exclusive features.

Automatic threading, full reverse wind
for any or all of the film, clutch dis-
engagement of the motor, eye-level focus,
adding and subtracting frame counter,
and the universal Octameter finder. For
the perfectionist, there is the line of
Kern-Paillard "Visifocus" lenses, de-
signed to match the fine performance of
all Bolex cameras. These, and many more
features are yours only with a Bolex.

Meet your Bolex Dealer and get to
know more about Bolex— why a Swiss
movement is as important in a movie
camera as a chronometer— what makes
the Bolex tick, how Bolex Service is
available the world over— and how you
can make finer movies— with a Bolex.

Your Bolex Dealer has Bolex H models
available from $244.75 to $318.00, less
lenses, no tax.

Bolex owners— receive regular free mailings
of the 25c magazine "Bolex Reporter" by
registering the serial numbers of your
Bolex equipment with us.

Paillard Products, Inc.
265 Madison Ave., New York 16, N. Y.

Model H-16 <& H=8 Movie Cameras

i-t« 20 195:

MOVIE MAKERS

Caesar Dentino, Peoria, III.

Milton L. Goldman, Philadelphia, Pa.

Rev. H. R. Pannabecker, Toronto, Canada

Ray Richards, Glen Oaks, N. Y.

Mary L. Rickert, Albany, N. Y.

Robert 0. Smith, Cambridge, Mass.

William H. Snyder, Reading, Pa.

D. Irving Temple, New Rochelle, N. Y.

Sidney A. Weiss, Pittsburgh, Pa.

Arnold M. Bisberg, New Britain, Conn.
James P. Boyce, Warn ego, Kans.
Joseph H. Brown, Montvale, N. J.
Stanley J. Chadwick, Teaneck, N. J.
William C. Cook, Monsey, N. Y.
Morris J. Feigenbaum, Hartford, Conn.
J. M. Gilliam, Scottsville, Ky.
F. Eugene Hart, Union City, Ind.
Charles P. Healey, Jersey City, N. J.
Richard E. Holtzman, South Bend, Ind.
Carl A. Johnson, Dallas, Texas
Kenneth W. Lampert, Brooklyn, N. Y.
Willis S. Martin, Ft. Wayne, Ind.
Samuel Maxwell, Detroit, Mich.
F. William McMillin, Morristown, N. J.
John Charles Mendel, Birmingham, Ala.
Benjamin J. Olejarski, Staten Island, N. Y.
M. Edward Remsen, Malverne, N. Y.
William Stefanu, Chicago, III.
Miss Opal Wike, Hickory, N. C.
Harry B. Woolnough, East Hempstead, N. Y.

Andrew Asmonda, Swissvale, Pa.
Harold R. Beckwith, Flint, Mich.
J. H. Belt, Salt Lake City, Utah
Frank E. Bradley, Northampton, Mass.
Dr. P. L. Brandstein, New York City
Leland W. Hansen, Anaheim, Calif.
Daniel L. Holmes, Braintree, Mass.
Morton M. Jones, Kansas City, Mo.
Alexander S. Krampovitis, Bridgeport, Conn.
Alexander J. McMurray, Newark, N. J.
H. E. Prentice, Ensign, Kans.
Fred A. Smith, Vancouver, Canada

Morris L. Binday, Hempstead, N. Y.
Robert J. Cigoy, Cleveland. Ohio
Richard R. Crow, Forest Hills, N. Y.
William W. Edwards, Akron, Ohio
Eduardo Fleischmann 0., Guatemala City,

Guatemala
Mrs. Josephine G. Halliburton, Macon, Ga.
H. H. Hinrichs, Kansas City, Mo.
Al Karseboom, Broooklyn, N. Y.
Gerald D. Kimberly. Ann Arbor, Mich.
Walter V. Mitton, Augusta, Maine
Burton A. Schenley, New York City
T & V Movie Club, New York City

Harold C. Arnold, Saskatoon, Canada
Dr. Stephen L. BeGell, Binghamton, N. Y.
David L. Dooley, Oklahoma City, Okla.
Dr. Phyllis D. Schaefer, Philadelphia, Pa.
Dr. Stephen Szalay, Teaneck, N. J.
Mrs. R. L. Wyrick, Park Place, Ore.
Edward P. Alazzoni, Louisville, Ky.
Edward F. Cook, Trenton, N. J.
Gates D. Dunn, Atlanta, Ga.
Albert Feinauer, Providence, R. I.
Edward French, Albany, N. Y.
Robert H. Guetschow, Chicago, 111.
Maude Hall, Detroit, Mich.
Leighton P. Harrison, Vancouver, Canada
Alex S. Macdonald, Rosseau, Canada
Emily Materna. Memphis, Tenn.
Peter Nickels, Ottawa, III.

Why M Own the Best?

For home movies of theatrical
quality, try the new rf Cine -Voice"
16mm Sound -On -Film Camera.
Shoot full-color or black & white.
Now you can enjoy your own
High-Fidelity talking pictures!

$695.00 with a 30-day
money-back guarantee.
You must be satisfied.
Write today for free
illustrated "Cine- Voice"
folder describing this
newest achievement
in 16 mm cameras.

'^Sfe

BERJDT-BMH, Incorporated

7383 Beverly Blvd., Los Angeles 36, Calif.

MANUFACTURERS OF SOUND-ON - FILM RECORDING EQUIPMENT SINCE 193!

FEBRUARY 1951

HBUO!

want finer

home i

movies •

Gef the new MEDIUM BEAM

G°E REFLECTOR

PHOTOLAMPS

• To capture precious movies
you'll prize for a lifetime, be sure
you have good lighting. Use the
new Medium Beam G-E Reflector
Photolamps!

They're designed expressly for
home movie making. With 375
watts, you use less current and can
have four on a single circuit. It's
smart to use them in pairs, too, to
give better balanced lighting for
color. 40° beam matches camera
coverage, so you get more usable
light right where it's needed.

Try the new Medium Beam G-E
Reflector Photolamps soon!

(And to "follow"
lively children, put
PH-375s in handy
camera light brack-
ets. Seeyour dealer!)

Remember . . . G-E Lamps
for every photographic purpose

GENERAL
ELECTRIC

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

February
1951

New ACL members

The reader writes

Closeups

Ideas for Easter

39
42

What filmers are doing 44
William L. Lucas 45

What's wrong with my angle?

Photographs by Ernest H. Kremer, ACL 46

Take it easy with Indians!
The clinic
Third-floor theatre

Elmer W. Albinson, ACL 48

Aids for your filming 50

A. C. Hugh, ACL 51

Some common lighting errors

Photographs by Leo J. Heffernan, FACL 54

Will they fit my camera?

Movies at Monterey

An improved film cleaner

News of the industry

Clubs

One-man movies

Ernst Wildi, ACL 56

Felix Zelenka 58

Lewis C. Cook, ACL 59

Reports on products 60

People, plans and programs 64

Editorial 66

Cover photograph by Harold M Lambert from Frederic Lewis

JAMES W. MOORE
Editor

DON CHARBONNEAU
Consultant Editor

ANNE YOUNG
Production Editor

JAMES YOUNG
Advertising Manager

Vol. 26, No. 2. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: S3. 00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August,* 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

AGAIN!

Revere brings you the best in home movies . • . with

Luxury Eights

at Boctqit VhkeA

Here are new Revere 8mm models that give you
so much more for your movie equipment
dollar. Embodying the same fine precision

critical movie makers everywhere!
Revere Camera Company, Chicago

CINE EQUIPMENT

Sensational ! New ! feeiSGfe

cine-graphic EN LARGER -V I EWER

Make beautiful

enlargements from

your 8mm or 16mm

movie film!

Model E 208— for 8mm film, $4750
Model E 216— for 16mm film, $4950

Each complete with Diaversal paper and every-
thing you need for making enlargements.

"B-61" WITH
SWING-AWAY CASE
Handsome plastic carrying
case with handy strap. Camera
and case, complete, $XX6'^

8mm "B-63"
MAGAZINE TURRET

8mm "85" DELUXE

PROJECTOR
All new, with greater-
than-ever conven-
ience, beauty, and
value! Slip-over case
of burnished russet-
brown plastic whisks
off and on in seconds.
Two-reel storage
compartment in pro-
jector base. 500-watt
lamp, 300-ft. reel, 1-
inch F1.6 coated lens,
and case . . . $ J J^50

FEBRUARY 1951

COMMONWEALTH

Announces
THREE New Additions

to the

Edward Small Group
Now making |Q in all

JLUNNr

S£2?a'T"D0NATi

vm iw

HAYWARD-BENNHH

6E0RGE V

SANDERS \_J
M0SOF

crnsm

Madeleine Carroll ^^^^

l°uis Hoyward

SeNKm W THE .RON MASK

a1genTlemanBafter dark

^onDonlevy. Miriam Hopkrns

KIT CARSON Andei

Jon Hall, lynn Ban, ua _~

THE CORSICAN BROTHERS

Douglas Fairbanks, Jr.,
Akim TamiroH

William Gorgon, Guy M»»
Moore, Peggy Ry°"

^sV^t0hV0m0oh.scans

L Ron'olpn SCO,,, Nnnie Barnes, Hen,,
Witcoxon ._-«—»

FRIENDLY ENEMIES

Charles Winn.ger, Char es Rugg
jomes Craig, Nancy Kelly

For Rentals Communicate

with your leading

%% I6MM. FILM LIBRARY ^p

EXCLUSIVE I6MM DISTRIBUTORS

COMMONWEALTH PICTURES

CORP.

723 Seventh Avenue. NewYork 19, N.Y.

SIGNIFICANT

Dear ACL: Received my December
Movie Makers just a few days ago, and
I have been reading and re-reading it
since. It seems to me to be a most sig-
nificant issue. The articles on the in-
dustry and the development of amateur
filming were especially interesting. It's
amazing what has happened in a few
short years. The ACL has really
pioneered!

Glen H. Turner, ACL
Springville. Utah

TALKS THE LANGUAGE

Dear Friends: May I congratulate you
all on your splendid 25th Anniversary
issue of Movie Makers! It is a mag-
azine that talks the language of the
amateur and I wouldn't want to miss
a single issue.

Madeline M. Lemperle. ACL
Rensselaer, N. Y.

HIGHLY PRIZE

Dear Sirs: I want to thank you for
the copies of your 25th Anniversary
number of Movie Makers which you
sent to five filming friends of mine.

We highly prize this issue, due to
the historical data on the various manu-
facturers' equipment. It is interesting
to note the struggles of the early pio-
neers and the great progress made in
the 25 years of organized effort.

Ira F. Kerwood, ACL
McGregor, Texas

MINE OF INFORMATION

Dear Mr. Moore: Please accept my
congratulations on the quality of your
25th Anniversary issue. It was really
a mine of information and reflected
clearly a considerable amount of hard
work on your part.

Thomas H. Elwell, ACL
Advertising Manager
Paillard Products, Inc.
New York City

"MODERN" CAMERAS

Gentlemen: I have in my library sev-
eral bound volumes of Harper's mag-
azine dating from 1870 to 1880. In the
volume for 1872 there are a page and
a half of pictures of the "modern"
cameras of that era! Your story and

pictures beginning on page 450 of De-
cember Movie Makers just brought
them to mind. Our club members here
were very much interested in both.

F. C. Barney, ACL
Seattle, Wash.

FINE ARTICLES

Dear Sirs: I certainly want to take
this opportunity to congratulate Movie
Makers magazine, not only on its 25th
Anniversary issue, but throughout the
entire year. There have been so many
fine articles which I feel sure have
helped countless amateurs in getting
more fun and better results in their
filming.

Verner E. Martin, ACL
President
Dayton Amateur Movie Makers, ACL
Dayton, Ohio

IMPRESSIVE

Dear ACL: I was very proud indeed
to be included among those present in
your 25th Anniversary magazine, which
was a magnificent job in every respect.
Recalling my years on the League's
staff, I can well imagine the blood,
sweat and near-tears that went into it.
Rest assured it was well worth the
time and effort; for it was impressive
both in part and in toto.

William Howe, ACL
Laguna Beach, Calif.

JUST THE THING

Dear Friends: Congratulations to the
League on its 25th birthday and to you
for the Anniversary issue of Movie
Makers.

Incidentally, your cover was very
good. Any magazine can print a pretty
picture on the cover, but the specially-
made photograph with the accompany-
ing technical explanation was just the
thing for our magazine. More like it
would be in order.

H. D. Bateman, ACL
President
Agriculture Amateur Movie Makers
Washington. D. C.

To all these friends — and many others
— our warmest thanks.

In the future, we shall try to arrange
for other specially-made cover photo-
graphs based on movie themes. Our
readers are cordially urged to submit
such pictures for possible cover use,
keeping in mind the necessity for a
composition which will accept the mast-
head in the upper left corner. Prints
must be on glossy paper and have a
minimum size of 8 by 10 inches. Photo-
graphs accepted will be paid for on pub-
lication at our regular rate of $10 each.

MOVIE MAKERS

THE BALL ROLLING

Gentlemen: Under The Reader Writes
for October, I think Solomon Kessler,
ACL, of Portland, Maine, has an ex-
cellent idea. We need unity, and need
it right now. Our country is in an
awful condition.

If you approve my membership ap-
plication, I want to start the ball roll-
ing with the following dope: I am 51,
born in Texas, true American. My
hobbies are hunting, good movie equip-
ment and fine guns. No fishing, no
square dancing or calf roping. But I
do brag about TEXAS.

J. B. Dalton, ACL
Abilene, Texas

FEEL CLOSER

Dear ACL: I would like to state that
I agree with Mr. Solomon Kessler's
idea, of Portland. Maine. I think the
magazine should have a page devoted
to photos of our fellow members with
information about them. By this way
we might feel closer to each other,
even for those who live outside the
States. What do you think?

Orlando Matas, ACL
Havana, Cuba

We think yes, emphatically — and if
reader interest supports this idea, we'll
find a place for it in Movie Makers.

In the meantime, every member of
ACL is sincerely invited to send us a
brief biography and photograph for use
on this get-together page. While member
Dalton's biog (above) is a model of re-
freshing candor and brevity, perhaps a
bit more data would be still more in-
teresting. . . Let us hear from you, soon.

DR. LIVINGSTON, WE PRESUME

Dear Sirs: Thank you so much for
your superb ACL leader and the lapel
pin, the latter of which has already
been of use to me.

On the second day of a recent trip
into the unexplored area of New
Zealand, and just as we were leaving
civilization, I met an American mem-
ber, Chris Hansen, the introduction
being brought about by your pin which
I wore on my shirt. We had quite a
long talk about cine matters. Very nice.
Ian Pollard, ACL
Dunedin, N. Z.

CARD STOPS COP

Gentlemen: During the Rose Festival
last fall at Tyler, Texas, I was taking
a shot of the Court House when I was
stopped by a policeman who asked me
if I had a license to take pictures. I
replied I was not a professional; but
he wanted proof. I showed him my
driver's license, bank reference, mem-
bership to my hunting lodge and even
a burial insurance receipt — all of which
failed to meet his requirements.

Finally, I happened to think of my
membership card in the Amateur Cin-
ema League. Upon showing this to him,
he graciously admitted defeat and gave

me a key to the city . . . Here's my
check for renewal in ACL. I can't af-
ford to be without it.

A. T. Wilson, ACL
Cleveland. Miss.

Questions ^j

LiiiiiiiBiBaaiBiiiiuiim

Answers

Readers are invited to submit basic problems of
general interest for answer in this column. Replies
by letter to individuals must be reserved for mem-
bers of the Amateur Cinema League. Address :
Questions & Answers, c/o Movie Makers.

LAMP CORRECTION

Gentlemen : In your column of the No-
vember issue, under the heading, New
No. 1 Photoflood, you make the state-
ment that the No. 1-A Photoflood is
designed to burn on 105 volts. You
further state that this bulb will burn
less brightly on 115-120 volts.

This certainly does not appear to be
consistent with my understanding of
any present incandescent lamps. If the
lamp was designed to burn on 105 volts,
its use in a 115-120 volt circuit should
increase the lumen value, color tem-
perature and current drain. Which one
of us is right? C. E. Maass, ACL

Crestwood, N. Y.

Member Maass is right by a country
mile. The reactions he claims for a 105 volt
lamp burned on a 115-120 volt circuit are
correct on every count — and they are, in
fact, those we had intended to state our-
selves. Sometimes there simply is no ex-
plaining this inverted type of editorial
error.

THE MERCURY TREATMENT

Dear Movie Makers: I am interested
in taking some scenes of indoor sports
(wrestling, boxing, basketball) on Type
A Kodachrome and with an f/1.9 lens.
I understand that by exposing the film
to mercury (is it before or after pic-
ture taking?) it is possible to increase
the film's rated speed and thus bring
out a better image. Can you advise
more fully?

E. E. Sercu
Rochester. N. Y.

The manipulation you refer to is
known as hyper-ssnsitizing, and argu-
ments concerning it have been batted
about in photographic circles for years.
While it is true that a certain increase in
sensitivity is created in any photographic
emulsion by exposing it to mercury vapor
(before picture taking), the weaknesses
of the method are these:

(1) There is no way of gauging how
long to expose the emulsion to the mer-
cury fumes; (2) there is no way of gaug-
ing how much hyper-sensitizing takes
place; (3) there is no way of gauging
how long this hyper-sentitizing will last
. . . The process is not recommended.

RADIANT

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considering purchasing a new modern
screen for the first time — Radiant's
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you against the dulling fog of discol-
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Movies or stills stand out with unu-
sual snap, clarity and contrast. Colors
are clear, brilliant and true. Images
seem to j-u-m-p out of the screen.
Here's why:

A Really Improved Screen Fabric

The new "Vyna-Flect" screen fabric is
made by an exclusive Radiant proc-
ess. Millions of tiny mirror-like beads
reflect light instead of absorbing it —
which assures you the brightest, clear-
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proof and ivasbable, so that you always
have a perfect projection surface.

Send for FREE BOOK

"/Wore Brilliant Projection"

crammed with practical infor-
mation on how to get the
best projeciton under all
conditions. At the same
time we will send you a
sample of the new Radiant
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ric so you can see how
much better your pictures
look on this miracle
fabric. Radiant Mfg.

o r p

1 20 8 S.

Talman, Chicago

RADIANT

PROJECTION SCRE IN S

FEBRUARY 1951

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 16 mm cameras.
Fitting to other cameras upon special order.

Sizes available now: 35 and 50 mm uncoated
and 75 mm coated.

Write for prices, giving your dealer's name.

Ss£i GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM -2

ELJUtliMfi^

THE RALPH R.EIJOCORP.

626 W. 165 ST. • NEW YORK
Send your film for free criticism or estimate

,328*

16 MM

and

Motion
Picture
.Service

WRITE

FOR

PRICES

DEPT. M

CloseupS— What filmers are doing

GEO.W.COLBURN LABORATORY, Inc.

164 N. WACKER DRIVE, CHICAGO 6, ILL.

GRANDMA MOSES, in a scene enlarged from
the 16mm. film of that name, takes a purpose-
ful look at one of her latest primitive pictures.

You will scarcely need us to tell you
who that lovely old lady is, so intent
on her painting. Grandma Moses, of
course! The point is that we enlarged
the still shot directly from a 16mm.
Kodachrome short subject on this pep-
pery primitive, recently completed by
Erica C. Anderson and now making the
rounds of the art theatres on 35mm.
Technicolor. Others engaged on the
production were Jerome Hill, director;
Hugh Martin, music; Alec Wilder, or-
chestration, and Archibald MacLeish,
narration.

Just in passing, we'll bet you don't
know Grandma Moses's real, full name.
Give up? It's Anna Mary Moses, nee
Robertson. Try that on your quiz-
minded friends, sometime.

That handsome home theatre you see
pictured on page 51 might well be
called "the house that popcorn built."
For A. C. Hugh, ACL, is practically
the popcorn baron of the British Isles,
having built up that business in twenty
years until his five and a half acre
plant is now the largest single popcorn
producing unit in the world . . . Should
make it nice for his movie guests.

A few months ago, in The Reader
Writes column, Solomon Kessler, ACL,
of Portland, Maine, suggested that we
run brief personality portraits of League
members from here and there so we
could all get better acquainted. And so,
naturally, we suggested that he start
the ball rolling — which he has done as
follows (Mr. K. now has the mike).
"I am now 29, was born and schooled
in Richmond, Va., and came to Maine
about ten years ago. After working at
various positions — including the ship-
yards— I went into the merchant marine
from 1943 to 1946. Getting out of that
service in 1946, I successively married
a Maine girl, bought a grocery store
and fathered a baby girl, now 4 years
of age. I took up amateur movies only
a little over a year ago, but now have
a Revere 8mm. model 60 turret maga-
zine camera, a Revere projector and

most of the accessories to accommodate
same. All fellow hobbyists interested
in starting a movie club in this area
are invited to get in touch with me at
87 Lancaster Street, Portland 3, Me."
Over and out for Brother Kessler.
This department will welcome similar
reports (and a picture) from readers
and members everywhere.

We are, frankly, mighty darn proud
to tell you that the November number
of Movie Makers was given an Award
for Special Merit in the recent 11th
Exhibition of Printing held by the New
York Employing Printers Association
in the Hotel Biltmore. More or less
alongside us on the display walls were
such diverse companions as the N. Y.
Times Magazine, Art News, Esso Oil-
ways and The Tale of the Nude.

Credit for this honor should be
shared equally by Anne Young, ACL,
production editor of this mag, and
Western Newspaper Union, the printers
of same.

Our days have been considerably
brightened of late by the beauteous
South Pacific belles in the movies and
transparencies sent to us, by way of
Rochester, by Chris E. Hansen, ACL,
currently in Indonesia on business.
Since it will still be some time before
Mr. Hansen has a chance to look at
these pictures himself, we feel quite
privileged to have this preview of them.

The dates for this year's annual Natchez
Pilgrimage will be March 3 through
April 1, and if you haven't caught this
hoop-skirted pageant, we recommend
it to you and your camera. Detailed
filming directions were carried in Wel-
come to Natchez, in Movie Makers for
February, 1949. Back copies are still
available at 35 cents per.

SOLOMON KESSLER, ACL, of Portland, Me., sets
the personality page rolling with a pocket-
sized profile of himself presented herewith.

Photographs by William L. Lucas

"HERE'S HOW IT'S DONE," says Dad in the second scenario, as he out-
does the kids in hand-painting an Easter egg. Note how simple back-
ground and cross lighting concentrate attention on subject's action.

IDEAS FOR EASTER

Here are three simple film plans for picturing this spring holiday

THAT lone crocus popping up through the cold ground
out in your front yard means that the Easter season
is coming. In most of the country Easter is a colorful
time of the year. There's forsythia, pussywillow, Easter
eggs, magnolia and Milady's bonnet. Yes, it's a season
when once again color film can do justice to your movie
scenes; so let's load our cameras and look around for
ideas.

If you are a parent, you'll naturally want to take some
movies of the kids' annual egg hunt after the Bunny's
arrival. We'll presume that your child — or children —
still believes in the Bunny and present a short continuity
accordingly. This script is merely intended as a spring-
board— something which you can amend according to
the size of your family or the amount of film you wish
to shoot.

"THE EGGS AND I"

It is a peaceful living room scene. You are reading
the paper while Mary, your wife, is darning some socks.
Jimmy, the offspring, is playing on the floor. Suddenly
Jimmy gets up, tugs on your sleeve and asks, "Daddy,
do bunnies lay eggs?"

You smile indulgently, shake your head and motion for
Sonny to continue playing. You return your attention to
your paper, but he tugs at your sleeve again.

"Then where do Easter eggs come from?" he asks.

You start to reply, then realize that you don't know
the answer. "Uh — I'm busy, Jimmy," you finally tell him.

Jimmy ponders this inadequate reply for a moment,
starts to play again, but finally comes back to your chair
once more.

"Daddy," he asks, "how can the Easter Bunny carry
so many eggs?"

You glance at your watch and say, "Time for bed,
Jimmy."

Jimmy tries to argue the decision, but you motion for

WILLIAM L. LUCAS

Mary to come and get him. He bids a reluctant good-
night, then you settle down in solitude with your paper
again. But you can't concentrate, and you lay the paper
aside, scratch your head and yawn. A moment later Mary
returns to the room, comes over to your chair and says:

"Don't stay up too late — tomorrow's Easter."

You shake your head, yawn again, then she leaves the
room. Soon your head is nodding and you are asleep.

A dream sequence follows wherein a closeup of you
lap-dissolves into a closeup of a toy Easter Bunny. This
is followed by ultra closeups of apparently dozens and
dozens of eggs, all beautifully colored. Then appear rows
of various Easter candies, Easter baskets and toys. Finally
there is another closeup of the toy Easter Bunny, which
lap-dissolves into a closeup of you, still asleep. On your
lap and on the arms of your chair are the toy Easter
Bunny, colored eggs, candies and toys. Jimmy comes
walking into the room, dressed in pajamas, rubbing his
eyes as though he's just awakened. He crosses to your
chair, sees all the Easter presents and is greatly excited.
He lets out a shout, and you awaken with a start. You
are perplexed as you see yourself surrounded with the
eggs and candy. Glancing at your watch, you see that it
is six forty-five.

Jimmy grins. "Now I know where the Easter eggs
come from," he says.

You smile weakly. Mary enters the room in her dress-
ing gown. All three of you join in the fun. When Jimmy
isn't looking you point at all the Easter eggs and whisper
to your wife, "Did you do all this?"

Slowly she shakes her head no. You shrug, then pick
up the toy Easter Bunny and inspect him carefully. This
scene fades into a later scene in the living room. By now
the toy Easter Bunny looks somewhat bedraggled. Jim-
my is playing on the floor, eating some candy. Empty
Easter baskets are strewn about, but no eggs are in sight.

Jimmy stands up. walks over [Continued on page 66]

WHAT'S WRONG WITH MY ANGLE?

Are your camera angles ordinary, eye-level and uninteresting?

Pore over these pictures and you'll find out how to improve them

Photographs for MOVIE MAKERS by ERNEST H. KREMER, ACL

Jl NY of you baffled button pushers remember some
M*^ articles we ran last year called What s Wrong
9 » With My Picture? Presented in three installments
(May, June and July), the series probed pictorially into
the symptoms, causes and cures of some fourteen different
movie maladies.

Technical troubles, mostly: over and underexposure,
faulty focus, dirty camera gate, edge fog, parallax cut-off.
that sort of thing. Ernie Kremer did the pictures (which
were the real meat of the matter ) and yours truly did the
copy and captions, and as far as we can tell the series did
some people some good, judging by the letters we received
at ACL.

But Ernie wasn't satisfied to rest on his laurels. "Jim,"

he said, "you think these things are all that's wrong with
amateur movies?" "Well-1-1," we hedged. "You see a heck
of a lot of films," Ernie persisted, "in the Ten Best contest
and stuff?" We nodded. "Most of them well exposed?"
(nod) "Most of them sharp and pretty steady?" (nod)
"Much edge fogging or dirty camera gate?" We shook
our head.

"Then what the heck is wrong with them?" Ernie
exploded. "Well-1-1." we stalled, "sometimes they all just
seem to look alike." Ernie's eyes gleamed. "Same old
scenes?" he said, (nod) "Same old angles?" (nod)
"That's if!" he said. "Look, I'll make up some pictures
and show you!" And so he did. The pictures are here,
and they sure show us. How about you? — J.W.M,

EYE-LEVEL AND ORDINARY is this head-on shot from stand-
ing position at 15 feet. Note bad background and balance.

SIX FOOT STEPLADDER and a 25 foot move to right create
this pleasing diagonal composition and clear background.

THE CAPERING KIDS are almost lost against the cluttered
background of trees and homes. Standing shot at 30 feet.

DOWN ANGLE FROM ATTIC, a 20 foot elevation, and a
swing to left now reveal the youngsters against the lawn.

ADEQUATE BUT UNORIGINAL is this front lighted shot from
a standing position at 15 feet. Boys seem lost in setting.

AN UPWARD ANGLE, from ground level and at 10 foot dis-
tance, dramatizes the actors and action. Side lighting helps.

ill iwji

SQUARE AND SQUATTY is this head-on, humdrum shot of
a modern school. Chimney line throws scene off balance.

STILL SAME SCHOOL, but camera has moved 75 feet to left
and only 25 feet away. Up angle clinches composition.

A STANDING POSITION at 200 feet creates split composition,
bad foreground and the clutter of light pole and siren tower.

ONLY 75 FEET TO RIGHT of building at knee level our cam-
eraman found this compact composition, clearing picture.

TAKE IT EASY WITH INDIANS!

says ELMER W. ALBINSON, ACL

NORTH or south, east or west, haste not only makes
waste when filming Indians, but it may, on occasion,
even prove dangerous. I recall vividly one ex-
perience in the Andes Mountains.

Stepping out of my car on the side of the road, I began
to make movies of a group of women washing clothes
in a nearby mountain stream. They disliked my intrusion.
I could sense this at once, and, balked by their non-
cooperation, I soon gave up trying to complete the
sequence. But it was not until weeks later that I discovered
how dangerous the situation had been. For then, in my
processed film, I noticed a man standing alongside the
women, observing me with hostility. Surreptitiously he
drew a revolver from his unbuttoned jacket and kept
holding the weapon under concealment. Ever since noting
this, my approach in filming Indians has slowed up con-,
siderably.

ADVANCE INFORMATION IMPORTANT
Knowing how to "reach" them — not merely in the
geographical sense — should be of vital concern to you.
Gather all the information you can about your prospective
location and its inhabitants. A start toward such informa-
tion, including the names of key people, may sometimes
be obtained at the nearest American consulate. The Amer-
ican consul in Ecuador, for example, gave me good direc-
tions for getting into the jungles of the Upper Amazon.
Oftentimes the local Chamber of Commerce is your best
bet. The Gallup, New Mexico, Chamber was of very great
help to me in reaching the Navajo Indians. Similarly, the
Indian Agency, in Dania, Florida, was most obliging in
giving me advice regarding the possibilities of filming
the Seminole Indians. Once on the spot, you must make
your own contacts with the "right" people. No one else
can advise you on that score.

Whenever first entering an Indian encampment. I never
show my camera. I merely loiter about, ask questions and
try to get acquainted. If someone speaks English, my
questions will soon be answered; for my first aim is to
seek out the Chief and win his confidence. Usually he is
the one to decide whether photography will be permitted.
He may also prove to be a good movie director, holding
his people against objections and instructing them to
continue the activities of the moment without staring at
the camera.

DISTRACTIONS BREAK TENSION

Distraction is a good way to gain a friendly reception.
Sometimes this may come about without advance plan-
ning. I shall never forget my first approach in a dugout
canoe to a Seminole village in the Florida Everglades.
The canoe started to vibrate. I held my seat and my
breath, trying also to hold my balance as we took in
water over the sides. The Indian paddler standing behind
me sought to steady the craft. He did, but meanwhile a
great laughter at our distress went up from the village.
These people like to be left alone, but this hilarious inci-
dent broke down their reserve and subsequently made
the filming easier.

On at least one occasion my wife inadvertently served
the same purpose. To the Jivaro Indian women of the
Upper Amazon she was a curious spectacle. They chat-
tered like magpies as they inquisitively fingered her jew-
elry. I fear that even the men considered her less than
attractive, to put it mildly. She is, you see, on the slender
side — and they like their women plump.

In creating a distraction, I always enjoyed working
with my artist brother, Dewey. He would find his first
composition some distance from an Indian camp. While
drawing, he soon would collect a group of curious chil-
dren. Then the adults would slowly come forward for
their peek. After a short time, sometimes a few hours,
we were chatting informally. Candy for the children helps
to win their hearts; knowing a few words of their lan-
guage also made them warm up to us. Eventually, they
began to realize we were not there to make fun of them,
but were seriously interested in their way of life.

During the getting-acquainted period, I would observe
closely what activities were of interest and begin mentally
to plan my film. Finally, when the time came to make
movies, I would pull my camera out of the case and load
it with film before their eyes. They seemed to enjoy seeing
the mechanism work, for the mystery of the camera box
was revealed.

BE RELAXED YOURSELF
Familiarity with your equipment and with every phase
of its operation is of primary importance in filming any
more or less primitive people. If you fuss and fiddle in
making your setup, the delay will bore them, and your
own uncertainty will lead to uncertainty and distrust

LONG AND MEDIUM SHOTS precede these dramatic closeups in the
doll making sequence cited— but it's the closeups which count. Down

angle (left) shows palmetto fibre form of doll; up angle (center)
illustrates delicate finger work, with child reaction shot for drama.

16mm. scenes by Elmer W. Albinson, ACL

PROUD BUT PICTORIAL is this cameo closeup of a Seminole Indian
chief, only just willing to be filmed. Two-shot of Betty Jumper and

blind Mary Tiger contrast youth and age dramatically, while only a
closeup of alert Anny Tommy could reveal her calm and piercing eyes.

A TOURIST TRADE ITEM, sweet-grass basket weaving is another out-
standing sequence in this Seminole documentary. Although sulky at

on their part. All technical decisions should be second
nature, so that your major efforts may be concentrated
on winning their confidence.

It is well, also, to keep your equipment simple and its
use inconspicuous. Tape measure focusing, for example,
is out of the question, as is a direct exposure reading
on an Indian's face or person. For the former. I estimate
the distance, while for the latter I use my gray felt hat
in lieu of the recommended gray card system. For maxi-
mum steadiness, of course, a tripod is essential, and the
Indians seem to get used to it. But for a quick and difficult
angle shot, I do not hesitate to hand-hold my camera.

PREFER 1 INCH LENS
As for lenses, my favorite by far is still the 1 inch f/1.9
focusing objective which is standard with my Cine-Kodak
Model K. Although I have a telephoto lens, I seldom use
it, since I do not take "sneak" shots of the Indians. You'll
get better results by winning their confidence, so that
you may then move in with your normal lens without
offending them. I find that both my compositions and my
angles are more effective with the standard lens close in
than with the telephoto from a distance. All of the close-
ups on these pages were filmed with the 1 inch lens — often
at a distance of only 2 feet.

SCENE AND SEQUENCE
My approach to an Indian subject varies. If their
activities en masse are important pictorially — as in a
dance sequence — I film an adequate amount of footage
in medium shot, as well as in closeup. If the activity to
be pictured is an individual one — as in the doll-making

The producer of "Seminole Indians," a Ten

takes leaves from his no

the thought of being filmed, the woman continued her work under a
chief's direction. Closeup of native jewelry was made on right hand.

sequence illustrated — I follow the standard sequencing
pattern: a long shot to establish the setting, a medium
shot to set up the action, and then almost innumerable
closeups to emphasize clearly what is going on.

In my closeup filming of Indian activities, I try as
far as possible to picture them in full sunlight. In this
way, there will be less change in your exposure (although
it should be checked hourly), and the definition of detail
will be sharper and more sparkling. Often, if the handi-
craft in question is not in exactly the right light, a simple,
courteous request on your part will get it moved into the
desired illumination.

It is well to remember, also, that even in filming an
interesting Indian activity, the activity itself may not
make up the entire sequence. Search out the human in-
terest aspects of what's going on — the intense concentra-
tion on the face of the artisan, the bland-eyed boredom
of a watching child. As cut-ins with your main stream
of activity, these scenes are invaluable.

THE CLOSEUPS COUNT
I cannot, I feel sure, stress too strongly the importance
of this closeup coverage. For, in my experience (as, I am
sure, in yours), far too many amateur filmers overlook
the tremendous dramatic force of the true closeup. For
one thing, they seem hesitant about poking their cameras
in a stranger's face. This is a sound attitude, as I have
been trying to point out, in the case of most Indian people.
However, when they regard you no longer as a stranger,
the finest closeup filming can be amicably arranged.
Secondly, I suspect that some filmers (unwittingly,
perhaps) care more about the dignity of their persons

than they do about the drama

Best winner, f their Pi(;tures; Therff is' l

fear, no place for selt-con-
tebook of native lore [Continued on page 65]

The Clinic

TITLES FROM TOY STORE

Are you looking for an easy and
inexpensive way of setting up some
attractive lead titles? Then hie your-
self out to the toy department of the
nearest dime store. I recently found
there netted string bags of colorful
cardboard letters at 39 cents per bag.
Two bags and you're in business.

The letters are IV2 inches wide
and 2% inches high in their outside
dimensions. In use, they can be
Scotch-taped to a card or simply
laid out on the floor. Two of my most
attractive titles were shot outdoors,
one on a leafy sidewalk, the other
on a slab of marble.

Dolores Pellarin, ACL
St. Louis, Mo.

MANY AMATEURS are disappointed
with their movies because they use their
cameras like a box camera, taking snap-
shots rather than planned and related
series of scenes.

* * *

IF YOU HOPE to sell any of your film
footage for commercial use, it would be
wise to have a duplicate made for home
projection. Then your original will not
collect dirt or scratches.

IN EDITING YOUR FILM, a handy
device to indicate sections of film to delete
is an ordinary paper punch. Use it to mark
the beginning and end of scenes that you

wish to cut out.

* * *

REELS INTO RACK

Out here in Israel, where I am
busy filming a documentary of our
country, one learns quickly to im-
provise when needed equipment is
not available. Thus it was that I
worked out a method of making a
couple of projection reels into a de-
veloping rack.

The type of reel necessary is the
Bell & Howell (or a similar design),

DEVELOPING RACK, created from two 1600
foot reels and dowels, is mounted on rewinds.

in which the outer edges of the flanges
are perforated with small holes. In
the B & H line, this design is carried
out in their 800, 1200 and 1600 foot
models, so that the size used can be
adapted to your footage needs.

My version of the developing rack
uses the 1600 foot reels, one compris-
ing each end of the unit. Also needed
are eight ^ inch wooden dowels and
a pair of rewinds. The dowels, 14
inches in length, are inserted in the
holes in the reels to create slats, and
the improvised rack is mounted at
each end on the rewind spindles.
During developing and washing, the
rewinds are turned slowly. During
the drying period, it helps to turn
the rack swiftly, thus throwing off
the moisture. The entire rig can be
set up or knocked down in less than
five minutes.

Yisrael M. Cohen, ACL

Tel Aviv, Israel

* * *

IN FILMING INTERIORS, work for
simplicity as much as possible. Too much
furniture, like too complicated action, can
make the scene confusing to your audience.

LENS EXTENSION TUBES, for ex-
treme closeups, should be used only if
your camera is equipped for visual focus-
ing and framing. Otherwise, your pictures
will more than likely be out of focus.

* * *

NEVER TRY TO MAKE telephoto
scenes without having a steady support
for your camera. A telephoto lens mag-
nifies movement of the camera as well as
the picture image.

* * *

IN FILMING PARADES and other
outdoor subjects you often may wish to
include a broader view than an ordinary
lens will permit. A wide angle lens is
specially designed for this purpose.

EASY EXPOSURE INCREASE

In filming sunsets one usually in-
creases the exposure as the sunset
gets progressively dimmer and finally
fades out. These changes in lens open-
ing may extend all the way from
//16 to //2, which, when spaced out
over a single framed scene of 500
frames or more, means that the ap-
propriate changes in diaphragm are
very small and difficult to make
smoothly.

On any camera having a conti-
nuous shutter-speed adjustment, such
as the Bolex H models, one can
change the shutter speeds far easier

Pictures, plans and ideas to
solve your filming problems

than the / numbers. For, the corre-
sponding distance through which the
shutter-speed indicator will be moved
(64 to 8 fps) is much greater than
for the / stops.

The same system may be adapted
to other filming situations where
either a progressive increase or de-
crease of exposure is desired. It is
not likely, however, to be suitable
where there is much motion in the
scene, because of the speeding or
slowing effect such shutter speed
changes create.

Roland Beach
Rochester, N. Y.

PLANNING SOME MOUNTAIN
PICTURES? Remember that often the
best pictures are made either early or late
in the day, when the shadows add interest
to the scenery.

* * *

NEW LAMPS, BEST COLOR

Although the invaluable photoflood
lamp has a rated life of from 3 to 6
hours (depending on whether it is
a No. 1 or No. 2), the critical color
filmer should keep in mind that both
the intensity and color temperature
of the light changes with age. Thus,
for scenes requiring accurate color
values or an accurate matching of
color values with existing footage,
it is safer to employ relatively fresh
lamps.

The older lamps, however, are far
from useless. They can be used in
title filming excellently, since accu-
rate color values are not important.
Further, the lowered intensity of the
light may be compensated for either
by placing the lamps closer to the
card or by shooting at 12 or 8 fps.
Herbert A. MacDonough, ACL
Binghamton, N. Y.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to : The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

GOLD SATIN CURTAINS, a proscenium and stage in sycamore, with
columns and fountain in orchid pink, comprise screen end of Kin-Attic.

PROJECTION ROOM equipment (right) includes 16mm. sound projector
and four-rheostat light control panel creating ten varied effects.

Third -floor theatre

A. C. HUGH, ACL

IT WAS probably my habit of using the ironing board and
five volumes of the Encyclopaedia Britannica as a living-
room projection stand which was responsible for the creation

of "Kin-Attic." our cine theatre in the attic. If so, I am gen-
uinely grateful to my wife for her suggestion that I "take all

my toys up to the attic!"

I knew, of course, that we had a long and spacious garret,

but its true potentialities as a home cinema had never occurred

to me. Then, as I surveyed its sixty foot length, this empty

space began to take shape. Three months later it was trans-
formed into a Tudor cocktail lounge, a twenty five seat theatre

and a complete projection room.

Let's take the projection room first, since that is the heart

of any home theatre. As will be seen in the two illustrations.

once committed to taking my tovs up to the attic, I gave the

matter a real "old college try."' The projector is a Filmosound

Model 601. which plays through one of two 12 inch speakers

behind the screen. Beneath the projector are the four variacs

and switch panels which control the house and stage lighting.

permitting a total of ten different effects.

At the right of the projector stand is my disc sound unit,

comprised of three turntables with separate sapphire crystal

pickups. These feed into a valve mixer and amplifier by Vor-

texion and plav through the second of the two speakers. The

microphone is used to mix live commentary with the music

from any one of the tables.

Above this disc sound unit are twin monitor speakers, to

guide the operator on the sound level in the house — since the

projection room is almost wholly soundproof. At the left of

the speakers will be seen the scanning and projection ports.

which are opened or closed mechanically by the small motor.

This unit in turn is synchronized with [Continued on page 63]

Urged to "take his toys" to the garret, an English amateur

produced a full-scale playhouse . . . Calls it his "Kin-Attic"

TRIPLE TURNTABLE disc sound system is in center foreground
above, while below are seen the projection ports and spots.

FEBRUARY 1951

announcing

Bell £ Howell

Sortie.

70-DL

Very
angle- newest

Here is the newest addition to the Bell &
Howell "70" series . . .the world's finest line
of 16mm cameras !

The 70 DL includes all the basic fea-
tures that have given "70" cameras top
ranking all over the world, plus many
important new improvements. First, check
the advantages illustrated here. Next, go
see it at your Bell & Howell dealer !

Then you'll know
why it's destined
to be the camera-

man s camera !

7 film speeds ... 8, 12, 16

(normal), 24 (sound), 32,
48, and 64 (true slow mo-
tion) frames per second.

» Critical Focuser permits
you to look through the
lens for precise visual focus
on the subject.

Hand Crank for short dou-
ble exposures and other
trick effects and for unlim-
ited film run.

Powerful Spring Motor

winds like a watch with
folding, non- rotating key.
Operates 22 feet of film on
one winding. Speed is accu-
rately maintained through-
out film run.

70 DL 1 6mm camera complete
with 1" f/1.9 lens $QCQ95

Rotating Viewfinder Turret

mounts 3 positive view-
finder objectives to match
lenses on lens turret.

Parallax Adjustment cor-
rects from infinity down to
3 feet.

Film Plane Mark clearly
shows position of film plane
within camera for accurate
focusing measurement.

Turret Head accommodates
three lenses for instantane-
ous change.

MOVIE MAKERS

Mayfair Carrying Case. A

distinguished case in keep-
ing with the character of
this fine camera. Covered
with handsome saddle
stitched cowhide over ex-
tra strong plywood. Lined
inside with ruby corduroy.
The Mayfair holds your 70
DL safely, securely ... ac-
commodates 4-inch lens in
place on turret . . . has com-
partment for film, extra
lens, filter, expo- CQ795
sure meter. Only W 1

Bell & Howell Tripod. For

rock-steady picture taking,
choose the all-metal tripod.
Tilt head provides for inde-
pendent or combined pano-
raming and tilting. Legs
are adjustable . . . feet are
spurred for outdoor use,
rubber tipped for indoor.
Legs and handle fold for
convenient carry- Cyl TRQ

Focusing Eyepiece . . . suits
individual sight variations.
Makes view finding easy
for those wearing glasses
. . . increases illumination
to the eye up to 600%.

Taylor Hobson Cooke Lenses

This family of .fine lenses is especially designed for Bell &
Howell "70" cameras. The following advantages are yours
with every lens !

1 . Highest degree of correction yet developed for 16mm film.
Same sharpness and contrast for all lenses, regardless of
focal length.

2. Uniform-step magnification — just like the lenses Holly-
wood studios use.

3. Widest range from which to choose. Complete family will
include seven superb lenses.

Send for free booklet explaining T-stop advantages!

.7-inch T 2.7 (f/2.5) B&H Super Comat. Stand- # Jf
ard C mount for 16mm cameras. Click stops. Filmo-
coted. Better contrast and sharpness over entire
frame than other leading wide-angle lenses.

$8995

m 1-inch f /1.4 Taylor Hobson Cooke Ivotal
in focusing mount. Unusual resolving power
for sharpest definition. Finest color correction.
Click stops. Depth of field scale in <M "7Q95
distinguishing red I # U

2-inch T 1.6 (f/1.4) Taylor Hobson Cooke *fc
Ivotal. Standard C mount for 16mm cameras.
Click stops. Filmocoted. (Also available for
B&H snapon mount 8mm cameras.) <M "7 095

2.8-inch T 2.5 (f/2.3) Taylor
Hobson Cooke Panchrotal. Standard C
mount for 16mm cameras. Extra legible
depth of field scale. Click
stops. Filmocoted. . . .

$18250

4-inch T2.5 (f/2.3) Taylor Hob

son Cooke Panchrotal. Standard C mount

for 16mm cameras. Extra legible depth of

field scale. Click stops. Filmocoted. Nearly

50% faster than the fastest of any other

leading 4-inch lens — 400

faster than the slowest.

$20995

Prices subject to change without notice.

Guaranteed for life. During life of the product,
any defects in workmanship or material will
be remedied free (except transportation).

You buy for life when you buy

Bell £ Howell

Chicago 45

SOME COMMON LIGHTING ERRORS

Are your indoor movies marred by multiple shadows,

"butterflies" or overstrong back lighting? Here's how to correct them

Photographs for

FOR THOSE who have just joined the class, this in-
formally related series of pictures and precepts began
in December with A Lighting Formula. We saw there
that four lighting units (key, fill, back and background)
could create pleasing light patterns according to a rela-
tively fixed formula.

Last month, in Look At Your Lighting, we considered
how this formula might be carried out in general pur-
pose scenes and adapted to special purpose ones. We
found with this latter category (in which some feature
of the scene dictates the lighting pattern) that the estab-
lished formula must, on occasion, be varied to suit the

FIG. 1: Here "butterfly" shadows beside the nostrils have been
created by poor placement, equal intensity of key, fill lights.

FIG. 1-A: Effect is corrected by re-posing, moving both lights
toward camera, lowering key light. Eye catch lights tell story.

MOVIE MAKERS by LEO J. HEFFERNAN, FACL

demands of the scene. In other words, though the for-
mula is basically good, there can rarely be a hard and
fast rule in lighting.

We must experiment. And yet in doing so, in depart-
ing from the formula, we may fall into one or more
lighting errors. In this discussion, then, we shall examine
some of the more common mistakes — and suggest ways
of correcting them.

MULTIPLE SHADOWS ON BACKGROUND

For every light source in front of a foreground subject,
a corresponding shadow of the subject may fall on the
background. This was vividly illustrated last month in
the shot of the reading girl, and it will not be pictured
again here. But it will be worth while to emphasize the
corrections for this error.

Pouring light on the background will minimize the
effect; but at the same time it is likely to overlight this
part of the setting. Better are the following: (1) raise
the offending lighting units, so that the shadows fall at
a sharper angle, thus missing the background; (2) move
important figures and objects toward the foreground and
away from the wall, so that your normal background
lighting will be adequate.

CROSS SHADOWS ON FACE

Since the key light and the fill light are usually on
opposite sides of the camera, it is obvious that each
of them will create shadows on any face which they
illuminate. If the lighting ratio of these two units is
what it should be (2 to 1 for color), only the shadows
created by the key light will remain visible. They will
be on the fill-light side of the face and (depending on
certain other factors) are likely to be pleasantly effective.

However, if the intensity of these two lighting units
is approximately equal, they will then create twin or
cross shadows on the face, especially around the nose.
This effect — which is known to studio light men as "but-
terflies"— is clearly illustrated in our Fig. 1.

Correcting the butterfly effect may be accomplished in
several ways: (1) intensify the key light or decrease the
fill light; (2) move the fill light to a point nearer the
camera axis; (3) re-pose the subject. In our Fig. 1-A
both of the latter two correctives have been used. Ade-
quate correction may always be judged visually.

OTHER FACIAL SHADOWS

Sometimes, when the key light is placed too high, or
when the action calls for a subject to lower his head for
a noticeable period of time, shadows from the brow will
cause the eyes to be underlit, the shadow from the nose
will cross the line of the lips, and there will be an unbe-
coming shadow cast by the lower lip. All three are re-
garded as offensive in a good lighting setup. And all
three of these effects are clearly illustrated in our Fig 2.

The remedy is simple and obvious. Study your subject
while placing the key light. If his actions are likely to
create these shadows, have him rehearse them while you

observe the lighting effect. Then lower your key light
enough to clear up the difficulty. The correct lighting is
seen in Fig. 2-A.

STRONG BACK LIGHTING

Back lighting, as we all know, is generally supplied
with a spotlight. In the hands of the uninitiated, this
unit may often create too strong a rim lighting effect
because ( 1 ) of being too close and ( 2 ) of its concentrated
beam and strong carrying power. In either case, the effect
is bad, since any overlit area will catch the eye and dis-
tract it from the overall scene.

Fig. 3 is only a reasonably unattractive example of
overdone back lighting. At the same time, however, it is
I intentionally ) a thoroughly unattractive example of the
"arty" or bizarie pose, showing up this sort of thing for
all its specious silliness. To begin with, the disembodied
head is unnatural, not to say ghoulish in appearance.
Note, also, how the pose makes the face seem swollen,
the nose overlarge and the chin too sharp. There is,
further, no great charm that we know of in observing the
inverted, inner nostrils of an otherwise lovely face. When
one adds to these physiological horrors the esthetic im-
balance of the glaring, vertical line of the hair and the
strong horizontal line of the table top, it should be clear
that the bizarre pose is usually bad business. The amateur

v::: f:-"^

FIG. 2: With key light too high, shadows from brow block out
eyes, a nose shadow crosses lip line, lower lip is too heavy.

FIG. 3: Burnt up from excessive back lighting is the hair of
this lovely lady. Note also "arty" pose and poor composition.

FIG. 2-A: Lowering key light and advancing fill unit clears
up these errors. Note better contrast on cheek and shoulder.

FIG. 3-A: A natural pose and restrained use of back lighting
bring out full beauty. Spot unit has been pulled up and back.

cameraman, wanting balance and sincerity in his pic-
tures, will avoid all forms of "artiness" — either of pose
or lighting — as he would the plague.

ADJUSTING THE BACK LIGHT
Fig. 3-A shows a restrained, natural and thoroughly
pleasant use of back lighting. The best procedure for
arriving at the right effect is to begin by training the
center of the spotlight beam on the back of the subject's
head. Then, from the camera position, study the illumina-
tion as the spot is turned slowly away from the subject
until the desired contrast level is achieved. Further, if
the subject is a lovely girl wearing a decollete gown, the
light should be turned upward at the same time, since the
neck and shoulders will reflect much light.

To sum up, we find that among the most common
errors in inexperienced lighting are the creation of
multiple shadows on the background, cross or other un-
desirable shadows on the face, and an exaggerated use
of back lighting for presumed glamour. The important
thing is to be conscious of these errors as such. For, once
knowing them by name and symptom, the observant
amateur will the more readily recognize them in his
filming. And — we hope — now know how to correct them.

WILL THEY FIT MY CAMERA?

ERNST WILDI, ACL Manager, Technical Department, Paillard Products, Inc.

WHEN Kern, the world famous 130 year old Swiss
optical company, entered the movie lens market
in 1943, their first matched sets of lenses were
produced specifically for the Bolex H-16, H-8 and L-8
movie cameras.

All of these lenses were made to the highest standards
of optical craftsmanship and they soon became known
for their consistency and superb picture quality. There-
fore, it was not long before owners of other movie cam-
eras began fitting the series of Kern-Paillard (Bolex
mount) lenses to their equipment by means of adapters.

To meet this growing demand, and to obviate where-
ever possible the use of lens-ring adapters, a new series
of Kern-Paillard lenses was introduced in September of
last year. Featuring an automatic depth of field scale —
clearly marked and easy to read — they were given the
name '"Visifocus." This name already has been found to
describe their ease of operation very well.

But perhaps more important to the practicing amateur
is the fact that all five Visifocus lenses for 16mm. cam-
eras come with a standard "C" mount, while all four
such lenses for 8mm. cameras come with the standard
A.S.A. mount. This means that these lenses will fit most
8mm. and 16mm. cameras without the necessity of
installing an adapter ring between lens and camera.
Screwed firmly into the camera, they will be in perfect
focus, thus eliminating the danger of improper seating
caused by slight variations in the threading of the adapter.

KERN LENSES FOR 16MM. AND 8MM. CAMERAS
Table 1 lists, in the center column, all of the 16mm.
cameras which accept the Visifocus Yvar lenses directly.
Furthermore, as shown in the right hand column, all of
the same lenses may be used (with adapter ring BO-310)
on a large number of 8mm. cameras as well.

In addition to the four Yvar lenses listed in this table,
an Yvar 75mm. (3 inch) //2.5 may be used directly on

The Kern-Paillard 16mm lenses

With Paillard Adapter Ring

fit directly, without adapters, on:

BO-310

Bolex H-16

Bolex H-8

Bell & Howell 70 above Serial No. S4090

Kodak Reliant

Bell & Howell 70 D, E, F, G and J

Revere 88

Bell & Howell Auto Load

Revere Ranger

Bell & Howell Auto Master

DeJur Citation

Revere 16

DeJur Embassy D-400

Revere 26

DeJur Fadematic DC-100

Yvar 150mm (6") f/4.0

Auricon Pro

DeJur Calif ornian DH-100

Yvar 100mm (4") f/3.3

Auricon Cine Voice

Keystone K-22

Yvar 75mm (3") f/2.8

Victor: Model 3 above Serial No. 3688S

Keystone K-36

Yvar 16mm (WA) f/2.8

Model 4 above Serial No. 20026
Model 5 above Serial No. 521 SI

Grover G.S.A.P.

Keystone all 16 mm models

Morton Soundmaster

Pathe Super 16

Maurer 05

Nord Professional

Pizar 26mm (1 ") f/1.9

on all above cameras
except Pathe Super 16

Switar 1" f/1.4 /
Switar 1" f/1.5 (

Bolex H-16 only

all the 16mm. cameras and with an adapter ring on the
8mm. units. It is not listed in the table, since it no longer
is in production. However, for those movie makers who
may already own this objective, we include these data. In
further addition, one Kern Pizar and two Kern Switar
lenses may be used as listed. Unlisted because out of
production, but accepting the same usage, are the Pizar
1 inch //1.5 and Yvar 15mm. (WA) f/2.8 lenses.

KERN LENSES FOR 8MM. CAMERAS ONLY
Kern-Paillard lenses designed specifically for use on
8mm. cameras are shown in Table 2. These objectives
require no adapter for the cameras indicated. The 8mm.
filmer will do well to keep in mind, however, the four
other lenses offered him (with adapter ring) in Table 1.
In connection with these primarily 16mm. camera lenses,
it should be remembered that their optical action on an
8mm. camera will be twice as "powerful" as on a 16mm.
camera. For instance, a 3 inch lens used on an 8mm. cam-
era will give the same magnification as a 6 inch lens on a
16mm. camera — and the 8mm. viewfinder must be adapted
accordingly.

ADAPTING THE BOLEX VIEWFINDER
The Bolex H-16 Trifocal viewfinder is matched for the
three lenses commonly regarded as the best combination
on a 16mm. camera — the 15mm. wide angle lens, the 1
inch standard lens and the 3 inch telephoto. This view-
finder also may be modified by the installation of masks,
or by etching the front finder lens, for the fields of the
following other focal length lenses: 2 inch and 2% inch,
or 4 inch, or 5 inch or 6 inch.

The total number of modifications permissible is re-
stricted by the fact that a choice must be made between
the addition of the fields of view of the 4, 5 or 6 inch
lens. The additional field for the 2^2 inch lens is always
etched on the front finder lens and so can be added to the
three other fields for which the finder is matched.
It should be noted that the installation of
masks necessarily cuts down the actual size
of the aperture through which the field is
viewed, thereby decreasing the accuracy of
framing. For those movie makers who use a
long telephoto frequently, a special 4, 6 or 8
inch viewfinder for the Bolex H-16 is recom-
mended.

The viewfinder of the Bolex H-8 is nor-
mally calibrated for the three standard fields

The Kern-Paillard 8mm lenses
fit directly, without adapters, on:

Switar Vi" f/1.5
Pizar Vi" f/1.9
Yvar 1 " f /2.5
Yvar IVi" f/2.8

Bolex H-8
Kodak Reliant
Revere 88
Revere Ranger
DeJur Citation
DeJur Embassy D-400
DeJur Fadematic DC-100
DeJur Californian DH-100
Keystone K-22
Keystone K-36

TABLE NO. 1 : Listed above (left) are the Kern-Paillard lenses currently offered, the
16mm. cameras (center) they fit directly and the 8mm. cameras with adapter ring.

TABLE NO. 2: Four other Kern lenses, made specifically
for 8mm. use, fit without adapter on the cameras above.

Available
Finder

Focal Length of Accessory Lens

25mm.

38 or
40mm.

50mm.

63mm.

102mm.

I 52mm.

1 3mm.

0.5

0.3

0.25

0.2

25mm.

1.0

0.62

0.5

0.4

0.25

38mm.

1.0

0.8

0.6

50mm.

1.0

0.8

0.5

0.3

75mm.

0.75

0.5

102mm.

1.0

0.66

152mm.

1.0

TABLE NO. 3: How much to mask your available finder, listed at left, is deter-
mined by multiplying its dimensions with the factor Figures columnized above.

Here are the Kern-Paillard lenses which

may be used on Bolex or other cameras —

8mm. or 16mm., with or without adapters

. . . The second of a series

of the y<i inch, 1 inch and 1% inch lenses. However,
it can be modified for additional lenses of the following
focal lengths: 7.5mm. in place of the 1 or V-/2 inch lens,
2, 21/2 or 3 inch.

THE BOLEX OCTAMETER VIEWFINDER

Ideally, however, the viewfinder companion for the new
Visifocus lenses is the still newer Bolex Octameter view-
finder. At the present time, the Octameter finder for the
H-8 is matched for five lenses, while the similar unit for
the H-16 is calibrated for six lenses. In the very near
future, both of these Octameter finders will be matched
for eight lenses of different focal lengths. These are, in
millimeters :

H-8: 6.5, 9, 12.5, 25, 36, 50, 63, 75.

H-16: 16, 25, 35, 50, 63, 75, 100, 150.

Modifications for other fields of view on the Octameter
viewfinder cannot be made, but it is possible to adjust the
finder for practically any lens by setting the dial between
two of the engraved figures. For example, if the knurled
knob is set between 100mm. and 150mm., the finder will
show the field of a 125mm. or 5 inch lens.

An additional lens for the Octameter will be available
soon and will match the finder for a 200mm. (8 inch)
lens in the case of the H-16 or a 100mm. (4 inch) lens
in the case of the H-8.

ADAPTING OTHER CAMERA VIEWFINDERS
Where Kern-Paillard lenses are used on cameras of
other makes (as indicated in the preceding tables I, their
viewfinders also must be adapted to the focal length of
the lens in question. An excellent method of determining
how much adaptation is needed was the system set forth
in the first installment of Will They Fit My Camera?

(The installment was on Cine-Kodak lenses and ap-
peared in Movie Makers for October, 1950. For those
new readers who missed it, the system is outlined again
herewith. — Ed.)

The method was based on a table which is reproduced
here as Table 3. The figures in the "Focal Length of
Accessory Lens" column are factors by which the height
and width of an available finder should be multiplied
to obtain the dimensions of finder masks for lenses of
longer local length. For example, to mask a finder that
shows the field of a 25mm. lens so that it will show the
field of a 50mm. lens, the table indicates that both dimen-
sions should be multiplied by the factor 0.5. If the orig-
inal dimensions are 1 inch by % of an inch, the finder
should be masked to !/2 inch by % of an inch, and so on.

WILL THEY FIT? From the telephotos to wide angle, these
and other Kern lenses may be at your service. The tables tell.

There is no way, of course, of increasing the maximum
field of a viewfinder so that it will serve with a lens of
shorter focal length than the standard — as, for example,
adapting the finder of a 25mm. lens for use with a 15mm.
wide angle objective.

OPTICAL INTERFERENCE
All Kern-Paillard lenses, even the ones of large aper-
ture and long focal length, are kept to the smallest pos-
sible dimensions. Thus, a complete set — comprising the
wide angle, standard and 3x telephoto lenses — can be
used on the turret of any of the cameras listed in Tables
1 and 2 without danger of optical or mechanical inter-
ference. The 4 inch and 6 inch Yvar lenses, regarded as
objectives for special purposes only, should not be left on
the turret when the wide angle or 1 inch lens is being used.

KERN LENSES FOR BOLEX L-8

Finally, there are quite a number of the Kern-Paillard
lenses which can be used on the Bolex L-8 camera — and
a very few of them on that camera only. This is brought
about by the special design of the camera's lens-mount
seating, which has a short, highly precise flange-to-focal-
plane distance. Table 4, which follows, shows how various
Kern lenses may be adapted to the L-8 camera.

LENSES

USED ON THE BOLEX L-8

Directly and
on L-8 only

With adapter
ring BO-1469

With adapter ring
BO-310 and BO-1469

Yvar V2" f/2.8 in

Switar W f/1.5

Pizar 1" f/1.9

focusing mount

Yvar V2" f/2.8 in
fixed focus mount

Pizar V2" f/1.9
Yvar 1" f/2.5

Yvar 16mm f/2.8
Yvar 75mm. f/2.8

Yvar IV2" f/2.8

Yvar 75mm. f/2.5
Yvar 100mm. f/3.3
Yvar 150mm. f/4

(Similar data on Bell & Howell lenses, for use on
Filmos or other cameras, is in preparation. Watch for it
in a coming issue of Movie Makers — The Editors.)

Photographs by Felix and Nikki Zelenka

MIDWAY POINT, a rocky bastion crowned with a single cypress, has
become an outstanding pictorial symbol of entire Monterey Peninsula.

FOREGROUND FIGURE will add interest to your sequence of desolate
Point Joe, infamous as the graveyard of three ocean-going steamers.

UNIQUE in its landscape and genial in climate, the
Monterey Peninsula may well be the raw material
of one of your most attractive movies. For this great
forested promontory, reaching out into the blue Pacific
from a medial position on the California coast line, is
rich in history and rewarding in human interest.

IN OLD MONTEREY

Motoring into the region from the north, one is at-
tracted by the romance of "Old Monterey," a quaint
little township with two centuries of background. Now
populated by 9100 souls, it was once the most important
settlement in California, when from 1770 to the time of
the Gold Rush it was the state capital.

Under care, a delightful assemblage of historic struc-
tures are clearly marked and dated to recall the glory
of the Monterey that was a Bohemian coterie in the day
of the Spanish Dons. There are about fifty picturesque,
long-galleried adobe buildings within the city limits.
Guiding the visitor through Monterey's winding avenues
is a broad yellow line painted in the center of the street.
Ultimately, a sign informs the sightseer, its course will
lead past every historically important site. Among these
are the first theatre, the home of Robert Louis Steven-

Movies at

MONTEREY

There's more than cypress to call your
camera along Monterey's 17 Mile Drive

FELIX ZELENKA

son and the San Carlos Church, often mistaken for a
California mission because of its architectural similarity.
It is advisable to tour the city first before deciding
which of these landmarks to record on film. Since it is
impractical to film each and every structure on your
tour, it may be best to select a half dozen or so of those
that are the most suitably lighted at the time of your
visit. Precede each scene with a closeup of the placard
describing the dwelling; and, in order to link them to-
gether into a continuity, separate the shots with moving
car inserts as you motor through Monterey.

CARMEL-BY-THE-SEA

On the southern approach to the Monterey Peninsula
the visitor is greeted by the Mission del Rio Carmelo,
better known as Carmel Mission. Although founded in
1770 by Father Junipero Serra, the structure actually
was not built until sometime after his death. This Span-
ish Franciscan missionary, whose remains were laid to
rest at Carmel Mission, was responsible for twenty one
of these historic landmarks along the coastwise Camino
Real. To him and his friars are credited the earliest
architectural achievements in California.

Further south is the informal village of Carmel-By-
The-Sea. This community among the pines has long
been recognized as the art and literary center of Califor-
nia. Grown from a tiny colony of squatter artists to a
town of more than a thousand residents, Carmel has
fought stubbornly against civic improvements, wishing
to remain purposely a rustic hamlet for artists and
writers.

THE CIRCLE OF ENCHANTMENT
But by far the most popular feature of the Monterey
panorama is its circle drive, a scenic route leading along
rocky headlands that border on the sea. Whether you
begin your tour of the peninsula at Carmel or Monterey
it matters very slightly, for surely if you begin at one
the route will lead to the other. For the sake of identi-
fication, however, let's follow a course from Monterey
and travel south.

In the pine forest near Monterey Bay and a short dis-
tance from Monterey itself is Pacific Grove. From here
the road continues westward to Point Pinos at the north-
western extremity of the peninsula and finally past Point
Pinos Lighthouse, built in 1872. Open to the public from
1:00 to 4:00 p.m. on Tuesdays and Thursdays, this
guardian of the rocky coastline offers the filmer a mag-
nificent panoramic view of the area from its tower.

THE SEVENTEEN MILE DRIVE
The toll gate to the 17 Mile Drive (50 cents per car)
opens on a road winding through Monterey pines and
scrub oak, their branches hung [Continued on page 62]

AN IMPROVED FILM CLEANER

A self -feeding fluid reservoir marks this homemade unit of aluminum

LEWIS C. COOK, ACL

MORE than a year and a half ago, more in cockiness
than in confidence, I mailed in to this magazine a
series of photographs on a homemade film cleaner
I had just then devised. Although the gadget worked well
enough, it was a crude and clumsy brainchild, thrown to-
gether from a couple of slabs of wood and some odds and
ends out of empty film magazines.

Worst of all was the fact that there was no way — short
of demounting the darned thing — of moistening the clean-
ing pad during a long reel of film. So recently I revolted
and designed a new model. Complete with a self-feeding
fluid reservoir and an easily-removable pad, it is presented
on this page.

Like its older brother, my new-model cleaner consists
essentially of a baseboard, an upright, four rollers, two
idlers, a spring mechanism to hold the pad in place and,
of course, a pad. Earlier, as already suggested, I fashioned
the baseboard and upright from blocks of wood. You can
still do so if you wish; for you may find this material easier
to work and to join. But, for a smoother looking job, I made
my '51 model out of aluminum.

Get a couple of sheets of the stuff, thick for the baseboard,
thin for the upright. Machine them to shape as shown, with
a slot cut in the rear edge of the base of the same size and
thickness as the upright. Before mounting the upright in
place, drill holes for the placement of the four rollers and
two idlers as indicated. In this connection, it is important
to remember that the inner faces of the lower rollers should
fall slightly within the outer arcs of the upper rollers, thus
creating a slight tension between them.

The rollers on my present model started life as parts of a
plastic curtain rod, while the idlers were cut from a chrome
rod. Both were then fashioned on a small lathe. Of prime
importance in this operation, of course, is the hollowing out
of their faces so that the film comes in contact with rollers
and idlers only along their raised edges. These edges should
correspond in width to the width of the perforation area on
the film.

The spring gate clip from an empty film magazine is now
attached by screw to the bracket extending from the top of
the upright. But of more interest is my self-feeding fluid
reservoir. This is created by hollowing out the head of a
large machine screw and then drilling the full length of its
shaft. Thus, not only does this screw bring adjustable tension
to bear on the spring clip, which in turn holds the pad in
place. The screw also feeds a slight but continuing trickle
of cleaner fluid to the felt pad. For a long job of cleaning, as
on a 1600 footer, added reservoir capacity can be created
by adding the funnel-like tin cup to the top of the screw head.

In closing, a word of caution about using this type of
fixed film cleaning pad. Since the function of the pad is to
pick up dirt from the film, we must expect that the pad itself
will need constant cleaning — and in time renewing. Person-
ally. I recommend removing the pad after each 400 foot reel
and brushing its face briskly with a stiff brush. This will
tend to dislodge any sharp particles which may have become
embedded in its soft texture. And don't be stingy about
inserting a new felt. The stuff's cheaper than film.

Photographs by Lewis C Cook, ACL

FRONT VIEW of improved film cleaner shows placement of rollers,
idlers, cleaning pad, spring clip and adjustable tension screw.

TOP VIEW shows attachment of spring clip to upper flange and
design of hollowed machine screw for self-feeding fluid reservoir.

STILL MORE cleaning fluid capacity, for cleaning long reels, is
achieved by addition of funnel-like cup on top of machine screw.

News of the Industry

Up to the minute reports on new

products and services in the movie field

E.K. biblios Eastman Kodak an-
nounces a new infor-
mation sheet concerning the storage of
16mm. films in active movie libraries,
which discusses the best location for the
film library and humidity controls, as
well as factors to be considered for long
term storage.

Kodak also is issuing three revised
visual aid bibliographies, entitled Some
Sources of 2 by 2 inch Color Slides,
Visual Aid Sources — Motion Pictures
and Filrnstrips and Selected References
on Photographic Visual Aids. Copies of
these publications may be obtained
without charge from Sales Service Divi-
sion. Eastman Kodak Company, Roches-
ter 4, N. Y.

New B & H 70-DL Bell & Howell
Co m pa ny's
latest entry in the 16mm. camera field,
the 70-DL, features an exclusive new
parallax-correcting viewfinder, which is
claimed by the company to represent a
revolutionary step in finder brilliance,
accuracy and convenience and to be the
only one of its type. The new finder is
adjustable for parallax correction from
3 feet to infinity in eight steps. The
optical system is said to transmit 500
percent more light to the eye and to
provide extreme sharpness and in-
creased contrast over full image area.
The focusing eyepiece, adjustable
through a range of 6 diopters, meets
individual visual requirements and has
a % inch positional clearance for those
who wear glasses. The finder has its
own three-objective rotating turret, on
which any three positive objectives may
be mounted to match lenses on the cam-

FILMO 70-DL, latest in an
illustrious line, features bril-
liant, parallax correcting
finder and focusing eyepiece.
Priced from $344.95.

era turret. There is an index mark on
the viewfinder which shows the plane
from which to measure film-to-subject
distance for critical work.

The camera has seven speeds from 8
to 64 frames a second, hand crank for
back winding, critical focuser for
through-the-lens visual focus, a 23 foot
film run with one winding and a start-
ing button lock.

The new 70-DL (which will replace
the popular 70-DA and DE models) is
priced as follows: with 1 inch //1.9
Super Comat focusing lens, $369.95;
with 1 inch //1.4 TTH Ivotal focusing,
$459.95 ; with 1 inch f/2.5 Ansix focus-
1.95. All lenses are coated, and

the prices include federal tax. Further
information may be obtained from Bell
& Howell Company, 7100 McCormick
Road. Chicago 45, 111.

TWENTY Kodascope Pageant sound projectors
check in at Minneapolis schools. Dudley Par-
sons, jr. (right), visual education consultant,
listens as Kodak's Richard E. Down explains
important features and Mort Liss, of city's
National Camera Exchange, looks on.

THE NIZO 8, German-made 8mm. spool cam-
era, offers twin-lens, vertical turret and three
viewfinders. Prices begin at $159.50, f.t.i.

New German 8 The Nizo> a new

German- made
8mm. spool camera, has been released
to the American market. It features a
double lens mount which shifts vertical-
ly for instant interchange of standard
and telephoto lenses. When a telephoto
lens is moved into place, the optical
viewfinder automatically provides cor-
rect field of view.

Three separate viewfinders are offered
— one for eye level viewing, one for
waist level viewing and a third for
"candid" shots. With the last mentioned,
the filmer may look in a direction at
right angles to that at which the lens is
pointed, and yet still observe the sub-

ject. Speeds range from 8 to 64 frames
a second, and there is provision for
single frame exposure. A back winding
device provides the possibility of lap
dissolves and all multiple exposure ef-
fects.

The Nizo lists at $159.50 with a
coated //1.9 Schneider lens; at $219.00
with a coated //1.5 Rodenstock. The
camera is manufactured by the long
established Niezoldi & Kramer Com-
pany of Munich, with distribution in
the United States being handled by
Ercona Camera Corporation, 527 Fifth
Avenue, New York 17, N. Y.

G-E booklet General Electric an-
nounces a new edition
of its booklet, G-E Photo Lamp Data,
a handy guide for professional and
amateur photographers. The revised edi-
tion contains completely new tables giv-
ing the correct exposure when using
G-E photoflood and photoflash lamps.

The new values have been determined
by test methods established by the
American Standards Association. In
general, more exposure is recommended
than previously. In addition, there are
included a table of the latest film speed
ratings, a revision of G-E photoflash
time-light data and listings of 3200° K
and 3350° K lamps for color photog-
raphy.

G-E Photo Lamp Data is available on
request at photographic dealers and
through the Inquiry Bureau, General
Electric Company, Nela Park. Cleve-
land 12, Ohio.

PMDA show Two February
events of interest to
photographers in the New York met-
ropolitan area include the National
Photographic Show of 1951 at the 71st
Regiment Armory, 34th Street and Park
Avenue, February 22 through 25. This
year's theme is "Education in Photog-
raphy." New photographic equipment
will be on display, and there will be
demonstrations of major manufacturers'
products, as well as staged events that
visitors may photograph. General ad-
mission is $.85, including tax, and the
hours are 11:00 a.m. to 10:00 p.m.

The Annual Photographic Industry
Dinner Dance will be held February 21

MOVIE MAKERS

in the Starlight Room of the Hotel
Waldorf Astoria. This year's dinner is
in behalf of the Rehabilitation Photog-
raphy Program of Volunteer Service
Photographers. Tickets for the dinner
and dance are $10.00 each. Among the
patrons are Joseph J. Harley, FACL,
President of the Amateur Cinema
League, and Mrs. Harley.

EK holds prices

Eastman Kodak
Company an-
nounces that it has suspended price
increases on several of its products and
has pledged itself to "cooperate in every
reasonable way" with national efforts
to halt a general rise in price levels.

"The Kodak company has always
done its part willingly during national
emergencies of the past, and we will
continue that policy," Thomas J. Har-
grave, president, said in a statement.
He added, "Just how long our hold-
the-line effort will work obviously de-
pends not on us alone but also on what
happens to the prices of the raw ma-
terials and supplies which we must
buy."

Cornell Film Hunting with Bow
and Arrow, a two reel
film produced by Cornell Film Com-
pany, of New York City, received a
Broadway opening at the Astor Theatre
along with the prize winning feature,
Harvey, and it is predicted that it will
remain there for six months. Hunting
with Bow and Arrow is the first of a
series of two-reelers produced by Cor-
nell under the name, World of Ad-
venture.

Cornell's Pattern for Survival was re-
cently run in Union Station, in Wash-
ington, D.C. Later, Mr. Kerl, manager
of the station, said that the showing of
this atom bomb defense film did more
for Civilian Defense in Washington than
anything to date.

Albert S. Howell One of the

great pioneers
of the early days of motion pictures,
Albert S. Howell, chairman of the board
of Bell & Howell, died January 3 in
Chicago.

He had obtained patents on over sixty
five photographic devices, one of which
was largely responsible for removing
the flicker that was evident in early
films. He entered partnership with Don-
ald J. Bell in 1907 and continued in
active service with the company until
1940. Mr. Howell was a Life Member
of the Amateur Cinema League.

Master Reflex A sinsle lens re

flex camera, for-
merly known as the Reflex Korelle, has
reappeared in America in a new model
called the Master Reflex. This still cam-
era takes twelve 21/4 by 21/4 pictures on
No. 120 film. The focal plane shutter
has speeds of one second to 1/1000, is

NO ARGUMENT HERE!

they all agree — the

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film and fewer interrupted
shows are assured due to
GRISWOLD high-precision
features — your guarantee of
accurate right-angle cuts plus
perfect alignment of film and
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If your photo dealer can't
supply you, order direct from
our National Distributor —

THE GRISWOLD JUNIOR MODEL

for 8 and 16 mm films— only $15

There's a CRISWOLD model for

every size and type of film.

NEUMADE PRODUCTS, 330 West 42nd St., N. Y. 18, N. Y.

GRISWOLD MACHINE WORKS

DEPT. A, 410 MAIN STREET, PORT JEFFERSON, N. Y.

M^B9^0

MOTOR REWINDS

Model PD-1 saves time, labor.
Equipped with ball bearing,
power-driven motor, throw-out
clutch for reversing and brake-
end geared hand rewinder. Foot
controlled. Mounted on acid-re-
sisting white enameled panel — 40"
x 13". A sturdy, complete unit.

RACKS AND CABINETS

Neumade's de luxe storage equipment is offered in
a complete line of handsomely finished steel cabi-
nets and racks to preserve and protect your film.

JV&wmd3&

EFFICIENCY

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Write Today for Free Fully Illustrated Catalog Dept. 101C

4916)

PRODUCTS CORP,
330 W. 42nd St., New York 18, N. Y.

FEBRUARY 1951

C I a s s i f i e d advertising

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

9 SYNCHRONOUS motors installed on 16mm. pro-
jectors, $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

■ CINE Special 1948, f/1.9, excellent, $425; new
Elgeet 3", $50; EK 4%" //4.5, $45; 3" B&H projec-
tion lens, $30. DAVIS, 5329 Holmes, Kansas City, Mo.

D NEW MORTON SOUNDMASTER single system
camera, three lens turret, 200 ft. magazine, portable
DC nower pack can be used on location, $645.00,
plus batteries. Filmo 70A, 1" //3.5 lens, 875.00.
Bolex H-16, 1" f/1.9 lens, $195.00. Diplomat 16mm.
projector and case, $150.00. Kodascope FS10N sound
projector, $245.00. We buy, sell, trade all 16-35mm.
motion picture equipment. THE CAMERA MART,
Inc., 70 West 45th Street, New York.

■ UNBEATABLE ! ! Up to 40% discount on brand
new movie and still photographic equipment. For
IZe. .and discounts write STRAUS SUPPLY CEN-
TER, Dept. MM, 113 West 42nd St., New York 18.

■ FOR sale: 25mm. f/1.9 Eastman "C" mount
coated lens, $45.00; 25mm. Cooke //l.S lens $65.00;
both for 16mm. LeROY SEGALL, 161-W. Wisconsin
Ave., Milwaukee, Wise.

■ WORLD'S LARGEST SELECTION OF FINE
MOVIE LENSES— Guaranteed, available on 15 day
trial. In focusing mounts for 8mm. cameras: %
y/1 9 Wollensak Raptar (coated), $45.70; 1%
f/3 5 Cine telephoto, $34.50. In focusing mounts
coated for 16mm. cameras: 17mm //2 7 Carl Meyer
wide angle, $44.50; 2" f/2 Schneider Xenon, $99.50,
3" //2.8 Carl Zeiss Tessar, $109.50. These are only a
few of the bargains in our tremendous stocks. Write
today for complete lens listing. BURKE & JAMES,
Inc., 321 So. Wabash Ave., Chicago, 111. Att : M. M.
James.

FILMS FOR RENTAL OR SALE

■ CASTLE films for sale: 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities, Animals, Flowers, etc. Sets of eight,
$1.95; sample & list, 25^. SLIDES, Box 206, La
Habra, Calif.

■ USED and new Castle films: 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 50^.
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C, New York 16, N. Y.

■ 1951 ROSE PARADE MOVIES. Kodachrome.
Colorful floats! Beautiful girls! 16mm. 200 ft., $29.95.
8mm. 100 ft., $14.95. C.O.D.'s accepted. California
add tax. AVELON DAGGETT, 441 North Orange
Drive, Los Angeles 36, Calif.

■ BORROW THESE FILMS— Directory to free-loan
movies, $1.00. AMERICANA FILMS, Box 2526M,
Hartford, Conn.

■ 1951 ROSE PARADE, Pasadena. Our 9th year;
8-16mm. color, beautiful. NORM JACOT, Box 572,
Manhattan Beach, Calif.

■ SURPLUS sale 16mm. library films. ROOM 1501M,
6 N. Michigan, Chicago.

■ BRAND new 1-reel, 16mm. sound prints of dis-
continued Castle, Pictorial releases low as $5.95 —
regular price $17.50. 100' 16mm. Panoram musicals,
good used condition, $9.95 per dozen. Bargains in
new silent 16mm. and 8mm. films, too. We have the
world's biggest stock of 16mm. sound films for sale —
over 100,000 prints in stock. Write today for our big
free catalog. "Sixteen's Super Market." BLACKHAWK
FILMS, Inc., 401 Grampp Warehouse, Davenport,
Iowa.

MISCELLANEOUS

■ KODACHROME DUPLICATES; 8mm., or 16mm.,
11^ per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ NO NEGATIVE ? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements,
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

■ TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
tive from your moviefilm, or two colorprints from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 1187 Jerome Ave., New York 52.

■ 16MM. SOUND movie camera for rent. Write
ANTHONY IOVINO, 86-01 Commingwealth Blvd.,
Bellerose, N. Y.

NEW IMPROVED

1 950

MOVIE MAKERS BINDER

NOW AVAILABLE

$3.00 each*

•Please add 2% City Sales Tax for
New York City delivery

AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue, New York 17, N. Y.

synchronized for flash and strobe and
has a delayed action self-timer. With
"T" coated //2.8 Zeiss Tessar lens, the
camera is priced at $199.50, federal tax
included. Made in Germany, the Master
Reflex is distributed in America by
Ercona Camera Corporation, 527 Fifth
Avenue, New York 17, N. Y.

$1000 fellowship FloydeE.
B r o o k e r ,

chairman of the Encyclopaedia Britan-
nica Films Scholarship selection board,
announces a new $1000 fellowship for
graduate study of audio-visual tech-
niques at any college or university in
the United States.

Applicants to qualify must have at
least a bachelor's degree and be pres-
ently engaged in the field of audio-visual
education. They also must be under 35
years of age prior to May 1, 1951. Ap-
plication forms for the fellowship may
be obtained from Mr. Brooker, chief,
Visual Aids to Education, U. S. Office
of Education, Washington 25, D.C.

Now avail-
able from
the Copyright Office, Library of Con-
gress, Washington 25, D.C, is the Cata-
log of Copyright Entries, a publication
which lists approximately 1000 the-
atrical and non-theatrical films and
filmstrips which were copyrighted dur-
ing the first half of 1950. Subscription
to the motion picture section of the
Catalog of Copyright Entries is $1.00 a
year; single copies may be had for
fifty cents.

Movies at Monterey

[Continued from page 58]

with long streamers of Spanish moss.
In a wide mesa between a dazzling
crescent of white sand dunes, the route
skirts Moss Beach and ultimately
reaches to Point Joe and its restless
sea. Named for a Japanese squatter
who lived here many years ago, Point
Joe overlooks the surging of two ocean
currents where three large vessels have
foundered.

From Point Joe to Cypress Point
many additional markers locate other
sea disasters as the drive winds past
Bird'Rock and Seal Rocks respectively.

Eventually one arrives at Cypress
Point and its unique golf course, which
has been laid out fringing the sea
cliffs and is famed for its "over water"
approaches. Here too are the twisted
and windblown cypress trees, which
have become a symbol of the Monterey
Peninsula. Native to no other region
in the world, these trees have inspired
countless legends to account for their
mysterious presence. Whatever their
origin, they are probably the most
photographed and most painted trees
in America.

MOVIE MAKERS

8MM— 16MM
KODACHROME
BLACK & WHITS

dtoS.

Enlorqec
...A Reduced ._
Free Catalog on Request.

2-^ NATIONAL CIN-E LAB

BOX44-ZS • WASHINGTON 17, DC

THE ACL LEADER

signature of a GOOD FILM

To all ACL Members:

Yes, we've put in 18 re-orders for
the ACL Full Color Leader — and
still your orders are pouring in.

If you haven't ordered your ACL
Leaders yet, you're missing all the
glow and sparkle that the beautiful
color footage will add to your fin-
ished films.

Cordially,

Oft jw^^s. ^ t**«»u^,

JAMES W. MOORE
Managing Director

P.S. 16mm. leaders are 14 ft.; 8mm.,
7 ft. — same running time.

If you

are

not

yet

a memb

of the

Amateur

lema

League,

see

the

inside

back cover

this

issue

for

complete

informat

Oil

and

appl

cat

blank.

AMATEUR CINEMA LEAGUE, Inc. 9.51

420 Lexington Avenue
New York 17. N. Y.

Yes. as a member of ACL, I certainly want several
of the beautiful new* Kodaehrome leaders. I enclose
ray check or money order for:

16mm. Kodaehrome leaders at $1.50 each

, Smm. Kodaehrome leaders at $1.00 each

Street.
City

MIDWAY POINT
As a trademark of the Monterey
Peninsula, Midway Point also has
served its part well. This castellated
crag juts into the sea defiantly, with a
lone cypress clinging to its battlement
of jagged stones. Visitors may clamber
up into its turret, the cliff falling be-
low on all sides, and look out over
crescent shaped Carmel Bay to the
east and across furrowed fields of water
to Point Lobos State Park. From the
drive, as one approaches Midway Point,
long shots may be made with other
cypress trees framing the scene. As a
matter of fact, no scene along 17 Mile
Drive could be more suitable as a back-
ground for your main title assembly
than a well composed shot of Midway
Point.

POINT LOBOS STATE PARK
Continuing the drive to Pescadero
Point, the road leads through sump-
tuous villas to Pebble Beach on Carmel
Bay; then, climbing the hills of the
peninsula, it passes out of Del Monte
Forest gate to the village of Carmel.
Three miles south of Carmel on the
coast highway is Point Lobos Reserve
State Park.

The sea lions that gather on the rocks
gave rise to the Spanish name, Punta
de los Lobos (Point of the Wolves).
This is the southernmost locale of the
Monterey cypress and here, with many
protected plant and animal species,
exists one of the country's outstanding
outdoor museums.

Third-floor theatre

[Continued from page 51]

the curtain-draw motor, so that as the
curtain swings to a close, the projection
port also is shut off.

The layout and furnishings of the
house and stage should be fairly clear
from the photographs. The predominant
color scheme combines green with gold
and is carried out in the carpeting,
chairs and stage curtains. These latter
are of unfigured gold satin, which we
felt would better reflect the illumination
of the footlights and the three 250 watt
spotlights trained on the curtains from
above the projection ports.

My final decision on a screen surface
may be of interest to other home cin-
emists. Although planning to place the
twin speakers behind the screen, 1
wished to avoid the perforated or sound-
screen surface because of its loss of
light. Instead. I tried one of woven glass
fibres; but the imperfections of the
weave were too evident on projection.
My final solution was to stretch tautly
a double thickness of fine Irish linen.
This provided for excellent passage of
the sound (even the high frequencies)
and had entirely adequate reflectance
with a 750 watt projection lamp.

Precision Engineered Movie Camera fay
Europe's Finest Camera Craftsmen!

EUMIG 88

The Only 8mm Movie Camera with

Automatic Built-in Exposure Regulator!

The Camera That Thinks for You!

K D M I G 88, With
Color Corrected, An-
astigmat fl.9 Coated
Lens $139.50

ELECTRIC

Popular in Europe for Years!
Now Available in the U.S.A.!

The outstanding Eumig 88 actually prevents incorrect
exposure whether you use color or black-and-white
aim! The unique built-in coupled photo-electric cell
which controls the diaphragm opening automatically
regulates the correct exposure required.

Tn addition, you will find other technically advanced
features to bring professional picture quality to yotir
3mm movies — precision clockwork motor with more than
average run, single frame release for cartoons and
trick work, continuous run lock to take pictures of
yourself, automatic film gate for simple threading
and precise frame registration, and wide range of
speeds for slow motion photography.

See the Eumig 88 at Your Franchisee! Dealer

or Write Dept. 272 for Free Booklet "E"

Exclusive Distributor In The U. S. A.

CAMERA SPECIALTY COMPANY, INC. —
50 West 29th Street New York 1, N. Y

STOP APOLOGIZING FOR
YOUR MOVIE TITLES

Write today for a FREE A-to-Z Sample Title Test
Kit. Make titles that are different . . . better and
tailored to your taste. Try our method . . . FREE.
COMPLETE COLOR OR B.&.W. OUTFIT $6.50

A-to-Z MOVIE ACCESSORIES

175 Fifth Avenue Dept. M New York 10. N. Y.

Two 2< stamps for giant catalogue. State size. 1

8 - 1 6 m m Silent, Sound,
Sales, Rental, Exchanges.

REED & REED DISTRIBUTORS, INC.
7S08 3rd AVE., BROOKLYN 9, K. Y.

2V4 x 3!/4 COLOR PRINTS 50c each

Price of larger prints on request
From 8 and 16mm Color Film

Send 3 frames or tie thread next to frame
desired. Add 25c handling charge on
orders of less than $5.00. No C.O.D.'s.

HOUSE OF COLOR

4423 Harvey Way Long Beach 8, Calif.

Save— Buy 6 Rolls!

FRESH BLACK & WHITE PAN FILM
WESTON 50. TUNGSTEN 32

8mm — 25 ft. Double 8 (Lots of 6).. $1.50 ea.

16mm— 100 ft. (Lots of 6) 4.00 ea.

16mm — Magazine — 50 ft. (Lots of 6) 2.45 ea.

24 Hour Laboratory Processing Included

B & W FILM PROCESSING— ANY BRAND

8mm 25 ft. Double 8 — GOc;

16mm 100 ft. — 80c: 16mm 50 ft. — GOc

B & W FILM DUPLICATING

ISmm to Smm 6c per 16mm ft

16mm to 16mm 4c per 16mm ft.

ARCO MOVIE FILMS, INC.
Dept. 302, 8616 Fourth Ave., Brooklyn, 9. N.Y,

N. Y. 8'S invite The New York 8mm. Motion Pic-
ture Club will hold its annual Guest
Night on March 2 at its regular headquarters, the Hotel
Statler in New York City, with the program scheduled to
start promptly at 8:30 p.m.

Among the films programmed thus far are two of the
1950 Ten Best selections, Nextdoor Neighbor, by Esther
Cooke, ACL, of Albany, N. Y., and Bless This House,
by Grace Lindner, ACL, of Kenmore, N. Y.

Tickets, which will include refreshments following the
screening, are $1.50; they may be obtained from Brit
Boice, 210 Lincoln Road, Brooklyn 25, N. Y., or from
Joseph F. Hollywood, FACL, 65 Pine Street, New York
5, N. Y.

Westwood winners Art Weir and Ed Kentera tied

for first place in the annual
contest recently concluded by the Westwood Movie Club,
in San Francisco. Mr. Weir's film was Able Baker, Mr.
Kentera's Mans Castle. Duplicate trophies were awarded.
Second prize went to Angus Shaw for A Day in the First
Grade. Gene Bockmeir was in third position with Rocky.
Dr. Mervyn Miller, William Abbenseth and Gordon Rob-
ertson were the judges.

The 1951 board of directors is headed by Arthur Weir
as president. Sal Siciliano is vicepresident, Othel Goff,
ACL, is treasurer, and Earl Nelson is program director.

New in Brazil A new cine-photo group has been
organized in Brazil under the name
of Sociedade Cine-Foto de Arapongas. Dr. Ismael Dor-
neles de Freitas is president. First and second vicepresi-
dents are Guilherme Meyer and Dr. Gilberto Soares
Botelho, respectively. The secretary-general is Jose Car-
valho, with first and second assistant secretaries Antonio
Frias, jr., and Aparecido de Oliveira, respectively. Joao
Vieira is treasurer, assisted by Rubin Machado de Souza
and Mario Coelho Aguiar. Dr. Antao de Azevedo Bueno
is speaker, or presiding officer. Nathaniel de Macedo
Gomes is librarian. The board of directors includes Milton
Eduardo Ludrs, Joao Ficker, Alcides Frias and Dr. Jose
Muggiati Filho. Dr. Flavio Ribeiro is legal consultant.

L. A. winners Herbert F. Sturdy took top honors in
the silent division of the annual con-
test of the Los Angeles Cinema Club with Sweeter by the
Dozen. Holland, by Mildred Zimmerman, ACL, won first
place in the sound division, and Oil, by William Hobro
and Robert Sample, first place in the 8mm. division.
Other winners were: silent — Order of Business, by Jack
Shandler, second, and Waters of Yosemite, by Charles
J. Ross, ACL, third; sound — Joint Account, by Leo
Caloia, second, and Venice to Paris, by Stanley Boiler,
third.

Madison elects Langdon Divers was chosen new

president of the Madison (Wise.)

Movie Club, ACL, at a pre-holiday election. Other officers

are E. C. Holterman, vicepresident; Mrs. L. F. Dugan,

The people, plans and programs of

amateur movie groups everywhere

L. Willi;

UNIQUE AWARDS, designed and made by a member of the Kansas City
(Mo.) Amateur Movie Makers, ACL, were given contest winners.

secretary; George Beck, treasurer; R. H. Lang, sr., pro-
gram chairman, assisted by Dr. C. A. Bergmann. Serving
with them as directors are Henry Ford, L. E. Godfriaux,
Dr. T. A. Leonard, L. J. Padgham and W. Otto Hinz,
ACL.

The group meets the first Tuesday of each month at
the Odd Fellows Hall for programs of 8mm. and 16mm.
films and color slides. Visitors are invited.

Chicago AACC

The Associated Amateur Cinema
Clubs, in Chicago, held their annual
banquet just before the holidays at Como Inn. Officers
for the current year were installed, as follows: C. S.
Dvorak, of the Suburban Cinema Club, president; C. A.
Bauer, of Edison Camera Club, vicepresident; Margaret
E. Conneely, ACL, of Metro Movie Club, ACL, secretary,
and Mr. Fredrickson, of Blue Island Movie and Slide
Club, treasurer.

Schenectady The Movie Group of the Schenectady

(N. Y.) Photographic Society, ACL,
scheduled an Amateur Night and impromptu contest last
month, when members were asked to bring in their films
for screening, with the best of the evening to be chosen
by audience vote. The results have not reached us.

Bergen County The Amateur Movie Society of Ber-
gen County, ACL, installed its new
officers for 1951 at the annual Christmas party. Fred
Feudale, ACL, assumed the duties of president, with
William Messner, ACL, taking up those of vicepresident.
George Weigl, ACL, is secretary, Arthur Carlson, ACL,
treasurer, and Cy Jenkins, ACL, program chairman.

The screening portion of the party featured Mr. Mess-
ner's 1950 Ten Best film, Hands Around the Clock. Also
shown were Merz Movie News Scoops, by George Merz,
ACL, and Doghouse Blues, prize winning film borrowed
from the ACL Club Film Library.

MOVIE MAKERS

Brooklyn contest Bert Seckendorf.
ACL. took top
honors in the annual contest of the
Brooklyn Amateur Cine Club, ACL.
with Memory Lane, grand award win-
ner and first place in the 16mm. group.
Other winners in order were: 8mm.
group — High Card Goes, by Arthur
Rosenthal and Louis Dishotsky; A Fin-
ished Movie Maker, by Earl Kaylor:
Show Time, by Charles H. Benjamin.
ACL; 16mm. group — Memory Lane,
above mentioned; Gingerbread Castle,
by Mr. Benjamin, and Florida, Land of
Sunshine, by Sam R. Fass, ACL. Sylvia
Seckendorf won an Honorable Men-
tion in the 8mm. class with A Bride's
Dream.

Washington, D. C. The Christ

mas party
of the Washington Society of Amateur
Cinematographers followed the regular
monthly showing of contest entry films
and a demonstration. Lighting Up for
Christmas, conducted by Harold Wagar.
The films shown were One Sunday
Afternoon, by Otto Rasmussen, ACL:
Christmas, 1949, by Patrick Morin, and
Noel, by Clarence Lahde, ACL.

Top point scorer in the November
contest screening was Richard Parvin.
ACL, for Flight to Iwo Jima, which
rated 88.58, thus placing him high on
the list for the final selections to be
made in June. Other winners for the
month were, in order, Long Lake Holi-
day, by Daniel Friedman, ACL; Apple
Blossom Festival, by Elias Pederson,
ACL. and Day's Journey, by Philip
Simpson, ACL.

LOS Angeles 8'S The annual con-
test awards and
banquet made up the pre-holiday meet-
ing of the Los Angeles 8mm. Club. The
1951 officers were installed.

Fred Evans. FACL. garned top hon-
ors in the contest as well as taking all
three club trophies — the Babb Achieve-
ment Trophy, for the best film of the
year, the Los Angeles 8mm. Trophy
and the Horton Vacation Trophy. His
film was Vacation Highlights of 1950.

. JpM

/ HL .Jhflfti

|\J

Kg* j

EaBb^J

WANT TO JOIN A MOVIE CLUB?
Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address: Clubs, Amateur Cinema
League, 420 Lexington Avenue,
New York 17, N. Y.

A JOINT MEETING of the Long Island Cine
Club, ACL, and the Lynbrook Camera Club
brings together Rosser LeGwin, Bert Secken-
dorf, ACL, Brooklyn Cine Club, ACL, and A.
Gustavson, ACL.

Runnersup were Nitwit News, by Dow
Garlock; Here's Your Hat. by Marian
Dance, and Navajo Territory, by Barry-
Dance.

Wash. Aggies H. D. Bateman,
ACL, president,
heads the roster of new officers elected
recently to govern the Agriculture
Amateur Movie Makers, of Washing-
ton. D. C. during the coming year.
Frederic Faber and Ronald B. Dozier,
ACL, are first and second vicepresi-
dents, respectively. Martha Louise Orr
is secretary, and W. Edward Black-
more, ACL, treasurer. Charles H. Cun-
ningham. ACL. and Max K. Steinberg
were chosen members of the executive
committee.

Take it easy
with Indians!

[Continued from page 49]

sciousness in the practice of good movie
making. I still recall with amusement
an afternoon in Northern Minnesota
where I was filming a Chippewa dance.

Some sedate tourists came upon the
scene. Loaded with cameras, they stood
rooted to one mid-distant spot and
began filming the action, all from eye-
level. At the moment of their arrival,
I believe that I was flat on my stomach
filming closeups of the shuffling Indian
feet. (Let me say here that I always
wear old khaki on my filming jaunts,
so that I am free to take unhampered
advantage of any camera position the
subject offers.)

Some of the tourists, however, began
to notice how I was moving about the
action, shooting first from a roof top,
next from a convenient stepladder, and
again from ground level. They too
began to loosen up. Before I knew it,
some even lay prone with me on the
grass for those all-important closeups.

When they got home and saw the
dramatic difference of such filming. I
know that they must have been sur-
prised. I like to think, also, that they
would try such filming in the future.
Why don't you?

MOST MOVIE CAMERAS have dif-
ferent speeds that allow you to take pic-
tures which appear normal, slowed down
or speeded up. Each speed offers definite
opportunities to the cameraman; discover
these and increase your pleasure in pic-
ture making.

Announcing—
I Three Rare New Subjects
WILD ANIMAL FILMS

Complete life cycles of "COYOTE." "SAGE
GROUSE" and "CANADA GOOSE" taken by
famed Eberhart organization. Orders of 3 or
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Choose any assortment of the following —
"Coyote" "Canada Goose" "Sage Grouse"
"Busy Beaver" "Bears!" "Spotted Fawns"
"American Bison" "Leaping Tuna" "Rocky
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8MM Black & White. .. Box of 3 $5.95

(each reel 50') Box of 6 10.95

8MM Kodachrome Box of 3 18.95

(each reel 50') Box of 6 36.45

I6MM B & W Box of 3 10.95

(each reel 100') Box of 6 21.45

I6MM Kodachrome Box of 3 45.95

(each reel 100') Box of 6 90.45

We ship postpaid. Send check. cashorM.O. to:

WILD LIFE FILMS CO.

Deut. MM-2 6063 Sunset Blvd.

HOLLYWOOD, CALIF.
Free Sound and
Silent Catalog

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price If sf on request

ST AH L

EDITING AND TITLING SERVICE
33 West 42 St. New York 18. N. Y.

FILMS & EQUIPMENT

• NEW AND USED . . .

SOLD FOR CASH OR ON TERMS . . .

• We also buy your films and equipment.

• We trade either films or equipment.

Doing business all over the world.

• Our bargain lists are free. If you haven't
our discount card, ask for one.

Here's some samples:
E. K 16 MM Magazine 1.9 camera $110.00
Revere Magazine 16 MM 2.5 camera 90.00
S.V.E. Slide Projector Model AK 47.00

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HOW TO GET PROFESSIONAL MOVIE
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SEND FOR FREE sanpples and illustrated brochure.
TITLE-CRAFT, Dept. M. 1022 Argyle St.. Chicago 40. III.

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Film. Ship in

FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

FEBRUARY 1951

ONE-MAN MOVIES

S WE write these words, the annual Academy
Awards — the famous and familiar "Oscars"
presented by Hollywood's Academy of Mo-
tion Picture Arts and Sciences — have yet to be
announced.

However, a somewhat significant straw has recently
been cast upon the wind concerning the best theatri-
cal film of 1950. Here in New York last month,
the New York Film Critics, an informal association
of the city's newspaper reviewers, announced their
selection of the best American-made movie of the
year. The picture they honored was All About Eve.
Pressing it hard as a runnerup was Sunset Boulevard.
There is, we think, more than a little significance
to the amateur in these selections. To wit: All About

Eve was written and directed by one man, Joseph L.
Mankiewicz. Sunset Boulevard was written and di-
rected by two men (but the same two), Charles
Brackett and Billy Wilder. As far as the manifold
pressures of Hollywood film making presently per-
mit, both productions were really one-man movies.
This is, of course, exactly the position of the
amateur producer — and one he has been known on
occasion to deplore as a burden. We think otherwise.
We regard it as a priceless boon. For in our expe-
rience, the creative opportunities of film planning
and the interpretive possibilities of film execution
should be integrated in one personality. Only in that
way — the amateur way — -lies true freedom of ex-
pression.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

Ralph E. Gray, Vicepresident
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, INC.. 420 LEXINGTON AVE,. NEW YORK 17, N. Y., U. S. A.

Ideas for Easter

[Continued from page 45]

to your chair. He says, "Lay some more
eggs, Daddy!"

You gulp and stare at him. Fade
out on a closeup of Jimmy's expectant
face.

But perhaps the children in your
family are old enough so that they no
longer believe in the Easter Bunny. If
so, you can still film a picture of the
festivities. Let's call this one:

"THE MASTERPIECE"

The opening scene is on Easter eve,
with the entire family gathered around
the kitchen table getting ready to dye
eggs. Mom has just boiled a dozen or
so eggs, and is cooling them off. The
youngsters make ready with the dyes,
cups and other paraphernalia while you
look on with only mild interest, doing
nothing. At last the dyes are mixed and
the coloring process begins. This af-
fords some excellent opportunities for
ultra closeups of the white eggs as-
suming beautiful hues. You are criti-
cal, as though your family doesn't know
how to go about it. Your suggestions
are not appreciated. At last one of the
kids suggests that you dye an egg.

While you don an apron, one of the
kids takes an unboiled egg from the
refrigerator. You sit down and are
given the unboiled egg. You study it. as
if determining the proper artistic ap-

proach to the problem. The kids cover
up smiles, expecting the egg to break
at any moment. Your wife is in on the
secret, but doesn't warn you.

While the rest of the family con-
tinue coloring the mound of eggs, you
keep working on your lone one, adding
special color effects with a brush. At
last all the eggs are colored, and the
family admits that you have done a fine
job on yours. You are pleased and non-
chalantly toss it in the air and deftly
catch it. Then you carefully set your
masterpiece on top of the pile of col-
ored eggs.

Next day, Easter, the family has
breakfast, after which you again ad-
mire your masterpiece. The youngsters
watch you carefully, expecting you to
break the egg accidentally at any mo-
ment. You keep holding it and tossing
it in the air. Finally you shout "Catch"
to one of the kids and toss him the
egg. His eyes bulge, he is horrified,
but he manages to catch the egg with-
out breaking it. Then he tosses it back.

One of the kids suggests you eat it.
You reply that each one of the family
will now eat an egg. You select eggs
for your wife and kids. Then they
watch eagerly while you start to crack
your egg and are amazed to find that
the egg is hardboiled. You motion for
them to go ahead and crack theirs.
Gingerly your wife cracks hers and
shells it. One of the youngsters cautious-
ly tries his. Finally the youngster who

originally switched eggs on you cracks
his, only to find it is raw.

You laugh, and ask, "Think I don't
know a raw egg when I see one?"
Fade out.

"THE EASTER PARADE"

Perhaps there are no youngsters in
your family and you'd like to film the
Easter occasion from an adult angle.
There are numerous running gags you
can employ. For instance, you can
show your wife all decked out in her
new finery for the Easter parade. She
urges you to hurry and get ready. You
start to dress, then she admits that
she's forgotten to iron you a shirt. You
look for a suit, and she remembers the
dry cleaner hasn't brought it yet. She
gets impatient, tells you to hurry and
wear something and that she'll start
along.

The camera follows your wife as she
joins the Easter parade, one of numer-
ous well dressed people. Finally there
is a shot of you hurrying down the
street garbed in hunting cap, boots and
a disreputable jacket. When you finally
catch up with your wife she is horri-
fied, and there is a fade out as you
continue walking down the street —
ten paces behind her.

A little care and extra time can lift
your Easter film — or any film — from
just another home movie to something
extra special. Continuity or a running
gag, plus effective titles, will help do
the trick.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

■ • /

A GUIDE TO

16MM. FILMERS

I I i » a 8 ; [ t »: ,i c ^ . :. l, !., ..

a * 8

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 23 years.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

| 2-51

l AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue
; New York 17, N. Y.

| I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $6 (of which $2 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

| Name

Street,

City_

Zone State.

YOU'LL SHOOT AND YOU'LL SHOW

WITH THIS SUPERIUR 8mm. MOVIE EQUIPMENT

Two Fine "MAGAZINE EIGHTS" Now there are two models of the
popular Cine-Kodak Magazine 8 Camera . . . ready to take superior
8mm. movies, indoors or out. The new f/2.7 model is priced very
low for a camera of such excellence. Its 13mm. Lumenized lens needs
no focusing . . . lets you start shooting faster . . . takes perfect-focus
pictures every time. It accepts interchangeable lenses — 38mm. f/2. 5
and 40mm. //1. 6 telephotos. The//1.9 model's Kodak Cine Ektanon
Lens focuses from 24 inches to infinity . . . interchanges in a jiffy
with any of eight wide-angle and telephoto lenses. Both cameras offer
built-in exposure guides, pulsating scene-length indicators, choice of
four speeds: normal, two intermediate, and slow motion. Both have
extra-strong motors that run nearly a full minute. And both feature
3-second magazine loading that lets you switch film any time. Whether
you choose the//1.9 or the f/2.7, a Cine-Kodak Magazine 8 Camera
means years of movie-making pleasure. With//2. 7 lens, $127.50; with
//1.9 lens, $147.50, Federal Tax included.

Two Fine "KODASCOPE EIGHTS" These two trim Kodascope 8mm. pro-
jectors have earned top approval from home movie fans everywhere.
Newest is the Kodascope Eight-71A, a smartly styled projector with
a fast-action automatic film rewind that makes showings easier than
ever. An ultra-fast // 1.6 Lumenized lens combines with a 750-watt
lamp for big, bright 8mm. movies. But when even greater picture
size . . . or extra brilliance ... is needed, the "Eight-71A" takes a
1000-watt accessory lamp for unsurpassed on-the-screen illumina-
tion. Runs coolly and quietly . . . threads easily . . . has 400-foot reel
capacity for half-hour showings. The price — $97.50. The efficient Ko-
dascope Eight-33 is a fine 8mm. projector priced amazingly low.
Small, compact, light-in-weight, the "Eight-33" features an excellent
f/2 lens and 500-watt lamp for projecting bright, 3-foot-
wide pictures. The Kodascope Eight-33 is a fine projector
in every way. And best of all, it's priced at only $65.

Prices subject to change without
notice. Consult your dealer.

EASTMAN KODAK COMPANY

Rochester 4, N. Y.

: -

SIMPLE ZOOM TITLES • USE A SHOT PLOTTER • SYNCHRONIZING TAPE

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's V2" in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.00 each.

THE NEW ACL DECALS

AMATEUR CINEMA LEAGUE, Inc. 3"51

420 Lexington Ave., New York 17, N. Y.

As a member of the Amateur Cinema League, I am
entitled to wear the new handsome membership pin
and to use the colorful decals. I enclose my check or
money order for:

~PINSn™"backkpel,ype at $1-00

□ pin-back safety clasp type each

-DECALS at $.25 each or 5 for $1.00

NAME_

.ZONE STATE.

AMATEUR CINEMA LEAGUE, INC.

420 Lexington Avenue, New York 17, N. Y.

March 195]
TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (Yz" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal.* But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 2*4" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

Cordially,

JAMES W. MOORE
Managing Director

MOVIE MAKERS

B * 292344

They'll sit through this one twice

• Once, of course, because here is a
show that's got everything. Laugh-
ter and joy. A charming young
"actress." A plot that will never
grow old.

The second time, we think, they'll
stay to applaud Ansco Hypan —
the splendid panchromatic film that
gives you sharp, crisp screen images
which look so wonderfully natural.

INSIST O

Whether you're shooting indoors
or out, you can count on Hypan's
extremely fine grain and sparkling
contrast to add that extra some-
thing which makes your movies bet-
ter. Add to this the splendid pan-
chromatic balance of Hypan — its
pleasing scale of tonal values — and
you can't help but get movies with
that sought-after professional look.

n An

Next time load your camera with
Ansco Hypan (available in 8 or
16mm rolls) and discover for your-
self why so many amateurs are
turning out way - above - average
home movies.

Ansco, Binghamton, New York. A
Division of General Aniline & Film
Corporation. "From Research to
Reality."

SCO 8 and 16MM HYPAN FILM

MARCH 1951

COMMONWEALTH

Announces
THREE New Additions

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THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

March
1951

The reader writes

Zoom titles without zooming

Try it with tape!

Three-way theatre

How to make bad movies

Comedy in closeups

The clinic

The shot plotter

George Merz, ACL

Dr. Leonard J. Martin, ACL

Benjamin 8. Crocker

Laurence Critchell

William Messner, ACL

Aids for your filming

Daniel Harris

Cause and effect Photographs by Leo J. Heffernan, FACL

News of the industry

Late releases

New ACL members

Clubs

Closeups

Which do you choose?

Reports on products
New 8mm. and 16mm. films

People, plans and programs

What filmers are doing

Editorial

74
77
80
81
82
84
88
89
90
92
94
95
96
99
102

Cover photograph by Remy from Frederic Lewis

DON CHARBONNEAU
Consultant Editor

ANNE YOUNG
Production Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

Vol. 26, No. 3. 'Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: §3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras^
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries JS4.00 a year, postpaid; to members of Amateur Cinema Le/gue,
Inc., $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale at^hoto-
graphic dealers everywhere. Entered as second class matter, August V, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS w't-h whicli it is to take effect.

MOVIE MAKERS

World's largest

manufacturers of

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Producers of

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Editing

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Illustrated — Craig Senior Editor Combination with Projecto-Editor, Senior Rewinds, Senior Splicer,
Safety Film Cement, Hardwood Base. Made for 8mm. or 16mm. Price, $69.50

Put new thrills into Your Movies
with a Craig Projecto-Editor

LOOK back over the movies you've taken — then think how you can
J give them new interest by editing them and arranging them in story-
telling sequence. For instance, you can create a sparkling movie showing
the year by year growth and development of your children. Vacation
pictures become twice as fascinating when you eliminate the not-so-good
sections — balance long shots with close-ups -and give them smooth con-
tinuity. Editing is the secret of getting applause instead of yawns when
you show your home movies. And editing is simple and fun when you use
a Craig Projecto-Editor. You see each frame on a big 314 x 4&i inch screen
illuminated to match the brilliance of your projection screen. Moreover,
everything is right at your finger tips for fast, accurate editing. Ask your
photo dealer for a demonstration of Craig Movie Editing Equipment to
fit your needs and budget.

CRAIG MOVIE EDITING
EQUIPMENT NOW
MADE BY KALART

Effective January 1, 1951 Craig
Movie Editing Equipment — Craig
Projecto- Editors, Splicers, Rewinds,
Film Cement and other Craig products
will be manufactured and sold by the
Kalart Company Inc., Plainville,
Conn.

Users of Craig products can feel
every confidence that the high quality
standards established by the Craig
Manufacturing Company will be
faithfully maintained by the Kalart
Company. Both companies have had
similar business histories. Both have
been pioneers in developing new prod-
ucts to make photography simpler in
procedure — more exact in results;
Craig as producers of precision movie
equipment — Kalart as inventors and
producers of the Speed Flash syn-
chronizer and synchronized range
finder, and creators of the "Camera
of Tomorrow."

Craig products will have all the
benefits of Kalart craftsmanship —
Kalart technical research— and Kalart
quality control . All production will be
carried on in Kalart's beautiful and
modern "Factory of Tomorrow."

FREE

Craig Movie Editing Booklet. Prac-
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illustrated description of all Craig
equipment. Mail coupon today.

Craig Senior Splicer— Built-in
scraper eliminates wetting film.
Just insert, cut, dry scrape, apply
film cement and splice. $15.00.

Craig Junior Geared Rewind —
Handles 8mm. reels up to400 ft. ca-
pacity. Entirely enclosed and dust-
free. $2.50 each or $5.00 the pair.

Craig Safety Film Cement
— Quickly welds film to-
gether in positive splice.
Handy applicator cap. 30^

The Kalart Company Inc. Dept. MM-3

Plainville, Conn.

Please send free Craig Movie Editing booklet.

Name

Street

City State

Make of camera 8mm . . 16mm . .

Make of projector

Name of photo dealer

KALART

MARCH 1951

WHY A LICENSE?

Gentlemen: Referring to the letter
(Card Stops Cop) from A. T. Wilson,
ACL, in the February issue, it is good
to know that the value of our mem-
bership card is recognized in Tyler,
Texas.

But will some blowhard from that
befuddled town please explain exactly
why any photographer should require
a license to take pictures there on the
public streets? Is it in the interest of
revenue, or just a shining example of
municipal dumbness?

In other words, cupidity or stupid-
ity?

A. Dudleigh Jewell, ACL
Oradell, N. J.

QUESTIONS "MISS KITTY"

Dear Mr. Moore: In connection with
my January story, Starring Miss Kitty,
I have recently received a letter which
disturbs both Mrs. Thomas and me in
the extreme. Since my correspondent
did not have the courtesy (or was it
the courage?) to include a return ad-
dress, I cannot reply to him (or her)
directly; nor may we (I and yourselves)
quote his correspondence save indirectly
— as follows:

"Sir: Your article called Starring Miss
Kitty has just come to my attention. In
spite of the attractive pictures, the im-
pression it leaves with me is one of
dubious pleasure.

"This kitten was taken into your home,
a waif, friendless and alone . . . You
taught her to look to you for food and all
the creature comforts so dear to cats. You
gladly used her for your needs and amuse-
ments. All this you did.

"But then, when to your reasoning she
was no longer wanted, what then did you
do? Did you betray her and cause her
short, happy life to be ended?" (signa-
ture withheld).

We had written in Movie Makers.
you may recall, that we never regretted
one moment spent in producing The
Witch Cat. "Especially now." we con-
cluded, "for Miss Kitty only recently
joined her witchly godmother in the
true world of the spirits."

How anyone — even confirmed felino-
philes, who sometimes are a little queer
— could misunderstand that statement is
beyond belief. But to reassure our cor-
respondent. Daisy (The Witch Cat)
died from natural causes and is still

mourned by our entire family. Our one
consolation is that her daughter. Maisie.
is the spit and image of her mother and
is pampered even more than Daisy was
— if that is possible.

William A. Thomas. ACL
Buffalo, N. Y.

HAS BEEN WAITING FOR

Dear Reader Writes: In the Novem-
ber article by George Merz. ACL,
called Good-by Parallax! is something
I believe every amateur has been wait-
ing for. Do you think they will ever
put such a thing on the market for
say my Revere Turret 99 or other 8mm.
cameras?

Douglas Archer, ACL
Beverly Hills, Calif.

We doubt it. Better make it yourself —
or have it made.

DIFFICULT TO ACCEPT

Dear Mr. Moore: I enjoyed Charles
DuBois Hodges's astute Stereo article
(November) pointing up the value of
camera and/or subject motion as a
depth perception aid. But I find his
explanation of the physiological psy-
chology involved a little difficult to
accept.

I cannot conceive that my "mind
retains each successively different image
long enough to fuse it into a stereo-
scopic impression with the next subse-
quent image from a slightly different
angle" . . . inventing its own mental
interpupilary distance in the process.
I believe that the added spacial feel-

Leo J. HefFernan, FA

ing Mr. Hodges reports is due to the
relative angular movement between fore-
ground and background objects — an ef-
fect familiar to anyone who has watched
the landscape from the window of a
moving railway coach.

The above, I realize, does not ex-
plain the increased modeling effect of
a moving light source, a phase of Mr.
Hodges's discussion I found especially
interesting ... In any case, I am con-
vinced that it has little to do with
mental after-images producing pseudo-
Cyclopian stereovision.

Jack E. Gieck, ACL
Detroit, Mich.

Huh?

LOW COST LIGHTING

Dear Movie Makers: Those articles
you have been running on lighting, with
specially made pictures by Leo J. Hef-
fernan, FACL. I have found very in-
teresting, not to say impressive.

But, frankly, the professional calibre
of the lighting units used by the man
tend to frighten me away from trying
what he teaches. Do you really believe
us home filmers can get the same ef-
fects with our low-cost equipment?

Hal McCullough
Des Moines, Iowa

Figuring Mr. Heffernan was the best
man to answer this one, we requested
him to reply as he saw fit. His proof is
presented in the picture on this page.
See its caption for equipment data.

FILM SPEEDS DIFFER

Dear Reader Writes: I hope I am
not too late to contribute to the inter-
esting discussion on the relative speeds
of American and English Kodachrome.
However. I have had experience of
both these films over the past four years
and I have found English Kodachrome
one half to a full stop slower than the
American. English color rendition is

FOUR-POINT LIGHTING FORMULA, with simple, standard home units, is here demonstrated for the
doubting by author HefFernan. Both key light (left) and fill light are No. 2 floods in metal reflectors
(note diffusion screens). Back light comes from an inexpensive photoflood spot unit, while the back-
ground is lit by a clamped RSP-2 lamp concealed behind the furniture at right.

MOVIE MAKERS

also more subdued, but excellent at the
right exposure.

Readers also may be interested to
hear that I have had similar experience
with English Cine-Kodak Super X,
which appears to be slower by one
half to a full stop than its American
counterpart.

J. S. Campbell
Lower Hutt, New Zealand

HERNE BAY FOR MONTREAL

Gentlemen: Is there a reader in or
near Heme Bay, Kent, England, who
could shoot me 100 feet of 8mm. Koda-
chrome scenes from a list to be sup-
plied by the undersigned?

I could either mail the raw film or
will gladly exchange equal footage on
scenes around Montreal. Please reply
by airmail if interested.

Sidney D. Rose
1 Ellerdale Road, Apt. 25
Hampstead, Quebec, Canada

PRE-WAR GUAM?

Gentlemen: I have been wondering if
we have any members who were in this
section of the Pacific (either as a
service man or in a civilian capacity)
who might have movies or stills taken
during or before World War II.

I am at present completing a series
of 16mm. color films on Guam and the
islands of this particular area, but I
have nothing with which to compare
my postwar rehabilitation shots. I
would be most happy to correspond
with anyone who might be able to help
me in this matter.

Kenneth R. Fletcher, ACL
Civilian Men's Housing Area
APO 246. Guam, M. I.
c/o PM, San Francisco, Calif.

FARM SCENES FOR SITES

Dear Movie Makers: I need 15 or 20
feet of 16mm. Kodachrome footage of
Plymouth Rock, at Plymouth, Mass.,
and the same amount of the Golden
Gate or the Golden Gate Bridge, at
San Francisco. In return, I am espe-
cially well situated to swap livestock,
rural and farming scenes.

R. M. Gridley
148 Market Street
Beaver, Pa.

ISmm

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ZOOM TITLES WITHOUT ZOOMING

Merz, the magician, tells how to use single frame filming in the creation of moving titles
GEORGE MERZ, ACL

WE all like movement in our movies. Why not. then, use movement in
our titles? Pondering this problem, I studied the many amateur films
it is my pleasure to see at movie club meetings. I found that the
majority of them employed no movement of any kind in their titling; that a
few used such effects as the dissolve, wipe, flip-flop or scroll; but that virtually
none of them used the zoom-camera effect.

How come, I asked myself. Analyzing the basic problems involved, it
seemed to me that two difficult technical operations stood in the way of the
home-produced zoom title. These were (1) creating some method of satin-
smooth, continuous movement of either the camera or the title, and (2) evolv-
ing some system of continuously changing the camera focus in step with this
movement.

SYSTEM BASED ON SINGLE FRAMES
There was no doubt in my mind that these two exacting operations were
what had put the zoom title out of the amateur's reach. But the effect itself
still intrigued me. I set out to find a method of making zoom titles without
zooming. That method was first used successfully in the lead title assembly
of my film, Circus Time, which I am grateful to say the ACL ranked among
the Ten Best of 1950. Based on single frame filming, it is now presented in
full on these pages. Through it. the great majority of movie makers can now
add the zoom title to their bag of tricks. All that you need is a camera with
a focusing lens, some approximation of a single frame release and some
method of visually focusing the lens.

ADD A CAMERA CARRIAGE
We will assume, to begin with, that you have an accurately aligned method
of title making — preferably horizontal. You must now add to this some sys-
tem of moving the title card toward the camera, or the camera toward the
card. Since my titling board is fastened to the wall, I decided that the latter
method was easier to control; so a pair of wooden rails were fastened to the
top of an old radio cabinet I any other flat surface will do). Then a camera
carriage was made from a piece of hardwood mounted on four accurately
shaped wooden wheels and two metal axles. The camera will be attached to
this, of course, via the tripod socket or by use of the detachable pan head of
your tripod. Figs. 1. 2, 4 and 5 will show you the general design of these
accessories.

HOW NEAR, HOW FAR?

We come now to some decisions about distance. It should be obvious that
the nearest distance your camera may be advanced toward the title card is
determined automatically by the size of its type area with an acceptable space
area still around it. For example, using your standard lens, your camera
cannot be advanced nearer than about 24 inches without beginning to crowd
a 6% inch type area on a 9 inch wide space. This does not mean, however,
that the title card itself need be only 9 inches in width — as will be seen shortly.

This minimum of 24 inches from camera to card was the distance at
which I chose to work. For steadiness I had made the wooden tracks about
48 inches long. Reserving 6 inches as a base, meant that I could draw back
the camera from the card a total of 66 inches and begin the zoom effect at
that point. But this would mean executing an unnecessarily long and tedious
zoom. After some preliminary figuring and rough tests, I decided on a total
of 36 inches for the distance over which the camera would advance. Adding
this to the 24 inch minimum camera-to-card distance meant lettering my title
on a card at least 22 inches wide.

USE A YARDSTICK

With this settled, I attached a yardstick (see Figs. 1, 2 and 4) on the

operating, or right hand, side of the camera tracks. It was positioned to ZOOM EFFECT, created solely by single frame

be read in the normal way from left to right, which meant that the zero end exposures, is seen in eight selected frames.

FIG. 1: The author's general setup, including
homemade camera carriage and tracks, is above.

FIG. 2: Here, both camera carriage and focus-
ing pointer are at 17. Note yardstick at side.

FIG. 3: Closeup of the focusing dial and pointer
shows their mounting around the lens barrel.

was farthest from the title and the "36" end the closest, i then attached
a wooden pointer to the forward end of the camera carriage (see Figs.
2 and 4) which would extend over and "read" the graduations of the
yardstick. The plan was to start the camera at the zero end of the tracks,
move it forward an inch at a time, and at each inch-pause expose
another frame. The zoom then would be animated over but 37 frames,
including one shot at zero.

Any such method meant, of course, that for critical sharpness of
image the focal setting of the lens had to be adjusted in step with each
move forward. For a one-time use of the method, this could have been
done simply by advancing the camera an inch, visually focusing the lens,
exposing the single frame and then repeating this routine through 36
more camera stations. But any such system was obviously tedious and a
waste of effort. To avoid it, two things were needed: (1) some method
of recording permanently the 37 lens focal settings, and (2) some
means of coordinating these settings with the inch units of the yard-
stick accurately and repeatedly.

MAKE A FOCUSING DIAL

We began by cutting a firm piece of poster board in the fan shape
seen in Figs. 2 and 3. A snug hole was then cut through the cardboard
equal in diameter to the mounting thread of the lens. Now, by unscrew-
ing the lens from its mount, slipping the cardboard around it from
behind, and then screwing the lens back tightly in its mount, the card-
board fan was held firmly in position. (The fact that the thickness of
the cardboard acts as a shim to extend slightly the focal length of the
lens does not matter, since all focal settings are determined visually.)
Finally, so that the cardboard could always be installed in exactly the
same relation to the lens's focal system, telltale reference marks were
placed on the card and on the lens barrel.

This card was to serve as a dial of focal settings. But before it could
be marked out as such, a pointer had to be devised to transfer these
settings from the focusing ring of the lens (see Fig. 3). To do this, a
rubber lens guard with a fingertip flap was used as a base for the
pointer. By cutting out its flat, lens-guarding face, a strong rubber ring
was created which fitted tightly around the focusing ring of the lens.
A pointer was then shaped from thin steel (it could be most any mate-
rial) and its rear end was fastened to the fingertip flap with several
layers of Scotch tape. Here again other methods of fastening might do.

COMPUTING FOCAL SETTINGS

We are now ready to lay out the series of graduated focal settings
on the dial. This is done as follows: draw back the camera on its car-
riage until the pointer on the carriage is aligned with zero, or the far
end of the yardstick. With your lens wide open, focus it visually on the
title. When this focus has been arrived at, the lens pointer should be
aiming at the upper corner of the fan shaped card. If it is not pointing
in that direction, its aim can be adjusted by slipping the rubber ring
around the lens barrel. But take care not to change the focus in making
this adjustment.

With the lens pointer in the correct position for zero on the yard-
stick, make a sharp pencil mark on the card at the pointer tip. You
may now continue to mark in all of the other 36 focal settings on the
dial. You will find, however, that trying to do this by one-inch advance-
ments of the camera along the yardstick is difficult because of the very
slight change in focus created. After experiment, I settled on advances
of 6 inches at a time.

Thus, your first series of advances, focusings and markings will be
made at the yardstick stations of 0—6—12—18—24 — 30 and 36. Now
move the camera back to 3 on the ruler and proceed through 3 — 9 — 15 —
21 — 27 and 33. At this point you may abandon, if you wish, this sys-
tem of actually focusing and marking each setting, and simply divide
each 3 inch segment on the dial into three equal units. This probably
will create an accurate enough focal setting. My practice, however, was
to continue through four more series of 6 inch advancements. These
are 2—8—14—20—26 and 32; 4—10—16—22—28 and 34; 5 — 11 —
17 — 23 — 29 and 35; 7—13—19—25 and 31.

FIG. 4: Detail of camera carriage, tracks, yardstick and pointer
shows their operation. Long cable release makes for steadiness.

You will now have 37 pencil points (from 0 through
36) marked on the edge of your card. Remove it from
the camera and, locating with a compass the imaginary
center of the pivot hole, rule out radial guide lines to
each of these points. Your focusing dial is now ready for
use in making zoom titles.

THE ZOOM TECHNIQUE

At the beginning of each such filming session, however,
I believe that you will be wise to check the following be-
fore proceding: (1) be sure that the dial card is accu-
rately positioned on the lens in relation to the reference
marks made for that purpose; (2) with the camera at
zero position on the yardstick and the lens pointer at
zero on the dial, check the focus visually to be sure that
the pointer has been accurately attached again to the lens.

From there on in, you can work swiftly and surely by
referring only to the yardstick and the focusing dial. The
procedure, of course, is to begin at zero, expose a single
frame, advance the camera to the 1 inch point on the
yardstick, adjust the focusing ring of the lens so that the
dial pointer is on "1," expose another single frame, and
so on through each one-inch station on the yardstick.
After your single frame exposure at No. 36, the zoom part
of the title will be complete. However, enough added
footage should now be exposed to keep the title on the
screen long enough for it to be read. Remember, here,
that if you now shoot normally (instead of single fram-
ing), an adjustment must be made in the exposure. How-
ever, it is recommended that this extra footage also be
single framed to insure an even exposure.

VARYING ZOOM SPEEDS
Creating a zoom over 37 frames makes it a short and
snappy one which is generally desirable. However, there
is considerable latitude in the effects you can achieve with
this system. If you wish a truly slow zoom, this can be
created by setting the camera carriage pointer at every
half inch station on the yardstick, with a corresponding
adjustment of the focusing pointer half way between the
existing one inch markings. The same method may be
used in the beginning to get a zoom off to a slow start;
then, by widening the units of camera advance between
exposures, the zoom can be made to speed up to a flash-

FIG. 5: With the camera advanced to front end of track, 24
inches from card, the author is here doubling in background.

ing finish. Or, by inverting this technique, your zoom can
get off to a fast start and end with slow smoothness.

HANDLING THE BACKGROUND
Thus far (see the setup in Fig. 1) we have concerned
ourselves with the zoom-filming of the white title letters
only. Actually the blue background card and the two
decorative figures (see Fig. 5 and the title strip) were
added by double exposure in all of my Circus Time titles.
This added manipulation, however, is not at all necessary
in using this zoom title system. If your titles are white-
lettered directly on a plain, colored card, there will be
no problem at all. If you add decoration to this card, the
only effect will be that the decor, as well as the title, zooms
forward on the screen.

The effect gained by double exposing in the decorated
background is different and, perhaps, more attractive.
On the Circus Time titles the figures of the dog and the
clown remain stationary and of the same size, while the
titles zoom forward neatly between them. If you wish to
follow the double exposure system, simply set your camera
at the nearest forward position (No. 36, which in my
case was 24 inches from the title), adjust the focus
pointer accordingly and shoot at normal camera speed
enough footage to cover the single-framed title exposures.

EASY DOES IT

All of the above may sound very complex and involved.
Actually it is quite simple. The only wholly new filming
accessory it calls for is the focusing dial; and once this
has been worked out, you are in the zoom-filming busi-
ness for keeps. Many movie makers already work with
titlers providing for some sort of forward and back move-
ment of the camera. And remember, this movement need
not be satin-smooth, for no picture is ever taken with the
camera in motion. All you will need to add to this setup
is the yardstick.

And, if your camera is not equipped with a single
frame release, you still may obtain very satisfactory re-
sults simply by tripping the shutter release for the smallest
fraction of time. Even if you occasionally expose two
frames by this system, it will have little visual effect in
zoom titling. After all, you're not animating a Disney
cartoon.

TRY IT WITH TAPE!

A member of the Minneapolis Cine Club, ACL, describes his

successful tests in synchronizing magnetic tape and movies

DR. LEONARD J. MARTIN, ACL

THERE have been, as many of you will know, a num-
ber of interesting and helpful articles in late issues
of Movie Makers on synchronizing magnetic wire
recordings with our amateur films. Perhaps the most
basic of these was the fine discussion by Warren A. Lev-
ett, ACL, Synchronizing Sound on Wire, in April, 1949.
However, sound on tape scoring seems to have been
overlooked, as if synchronization with that medium
could not be achieved. Since I happen to prefer tape to
wire, I decided to find out just how well such synchrony
could be maintained between recorder and projector.
Here were the experiments I conducted.

TEST EQUIPMENT USED
First let me itemize the equipment used. These were a
Bell & Howell 16mm. sound projector, a Kodascope
Pageant sound projector (for variety!, a Revere tape
recorder, a line voltage regulator and a Castle Films
newsreel. The voltage regulator, I believe, is almost a
necessity in any kind of sound synchronizing, since line
voltage is likely to vary in your home or club meeting
place by as much as 10 to 15 volts from its rated
strength. In my tests it was used to control the power
supply to both projector and recorder. The Castle film
selected was Crisis in Korea, which has strongly marked
passages of gunfire, music and narrative.

GETTING READY FOR TEST

My first test was made using the B & H projector,
with it set to run at sound speed. This projector was
first thoroughly warmed up, and then the sound film was
threaded into position so that the number "3" (at the
beginning of the film) was just above the gate.

The recorder was warmed up in like manner, and the
proper levels for recording were tested and marked
with red crayon on the dials. The tape was then threaded
into position over the exact center area of the recording
head, with this positioning marked on the tape with a

TRIPLE TURNTABLES, with author at the controls, provide ample
facilities for re-recording music and narrative on tape.

red crayon. An electrical connection was now made be-
tween the recorder and the sound system of the B & H
projector. This was created by using the wire with two
clamps at one end and a radio jack at the other, which
comes with the Revere recorder for direct recording from
your radio. In my instance, the clamps were attached
to the voice coil of the Filmosound speaker unit and
the line then plugged into the recorder as usual.

Now, with all equipment warmed and ready, I threw
the clutches which simultaneously started the projector
and recorder. From then on, without a break, I recorded
the sound from the full reel of film.

PLAYBACK IS PERFECT

Now for the test ! The film and tape were rewound and
positioned exactly as outlined at the beginning. The wires
were removed from the voice coil of the Bell & Howell
speaker and connected now to another 12 inch perma-
nent magnet speaker, thus hooking it up with the re-
corder. This speaker was placed alongside the Bell &
Howell speaker, about 25 feet distant from the projector.
The two machines were started simultaneously, as be-
fore, and the volume on the tape recorder brought up
a little higher than that of the projector.

In this way any deviation of synchronization would
be readily noticed, even to a small "echo" effect which
is created by a minor difference. The sound matched
perfectly! (And was I happy!) During a later run, a
slight echo effect did develop; but with a turn of the
little speed-up clutch arm of the Revere, the tape jumped
ahead about 2 or 3 inches and the two units again stayed
in sync throughout. This deviation happened only once
in many, many test runs. The rest were perfect.

However, to give my tests more universality, I re-
peated them using the new Eastman Pageant sound
projector, but with the tape recorded from the B & H
playing. The results were also very satisfactory.

SCORING OWN FILMS

Since then I have added sound on tape to several of
my own films, which are cued very accurately from my
eleven years of experience in adding music and sound
effects via a triple turntable unit. With these prepared,
I then demonstrated my test film and my own produc-
tions at a meeting of the Minneapolis Cine Club. Since
this demonstration, several other club members (James
Brown, Earle Ibberson, ACL, Stanley Berglund and G. L.
Larson) have added sound on tape to their films.

Our next project is to make up a set of standards
or rules for tape scoring, similar to the general rules
of filming. For example: the musical volume should be
lower than the spoken voice; constant narration is un-
necessary; do not ad-lib, but read from a written script;
do not use narration during some well-composed pas-
toral scene, where the music should be brought out
slightly to emphasize the scene, and so on. At a later
date, we shall try to pass on our suggestions to all of
you interested in these projects.

THREE-WAY

Photographs by Crocker Films

THEATRE

BENJAMIN B. CROCKER

HERE was this room in the basement of our new
apartment on Marlboro Street. It measured 9 by 21
feet and, as far as anyone else was concerned, it
was mine, all mine, to do with as I wished. To any true
movie maker there could be but one answer — build a
home theatre.

This was, in time, exactly what I did. But, relatively
small though the space was, I wanted more from it than
just a projection hall. Along with that I hoped to create
a completely equipped sound recording studio and dub-
bing room, as well as a small but efficient sound stage.
Since many serious minded amateurs may have similar
needs or aspirations, my project may be of some aid and
interest to them. Particularly so, since I managed all the
alterations myself, using nothing but a hammer, a saw, a
drill and a screwdriver. Furthermore, the cost of the
materials was kept under $100. Hence, there is no reason
why any amateur cannot have as good or better a room, if
he has ordinary proficiency with tools.

PARTITIONING PROJECTION ROOM
The basic unit of the plan consisted of a partition with
cutouts for a door and a plate-glass window (see Fig. 1) .
This partition formed the front wall for the projection
room of the home theatre. It was constructed by screwing
2 by 4 inch beams against the ceiling, the floor and both
walls so as to form a rectangle about 5 feet from the rear
wall of the room. Within the rectangle, additional two by
fours were fastened to serve as frames for the door and
window (construction details are shown in Fig. 2).

Next, both sides of this framework were covered with
Celotex board and finally acoustic tile was nailed on top
of the Celotex to provide the required sound absorption.
The door was hinged on the door frame and the plate
glass was held in place by strips [Continued on page 101]

CELOTEX
DOOR, /

•2X4 FRAME

PROJECTION
STAND

FIG. 2:
above.

Simpls
Entire

s but sound construction details are diagramed
cost of building materials was less than $100.

FIG. 1: Projection room setup, framed off 5 feet from room's end,
is seen above. Note sound projector blimp, slide projector stand.

FIG. 3: Here the projection room is being used for monitoring a
sound recording, made in theatre space with Auricon Cine-Voice.

FIG. 4: A lip-synchronized sound recording setup is made at the
screen end of theatre, with background of paper or stage curtain.

How a Boston amateur built a picture play-
house, recording studio and sound stage in two months time and for less than $100

HOW TO MAKE BAD MOVIES

A pioneer picture maker views with alarm the effete excellence of modern amateur movies

IRAN across recently a December issue of this journal,
in which the editors reviewed their findings as regards
the Ten Best Amateur Films of 1950. After an amazed
and careful analysis of this report, I can come to only
one conclusion. The art of making a bad movie has lately
fallen into a decline.

It is difficult to account for this; bad movies are so easy
to make. The only possible explanation is that audiences

11 Ml

CONTINUITY: A total lack of continuity is high achievement in
art of making a bad movie, says author. Under no circumstance
should you follow one scene with another even slightly related.

LAURENCE CRITCHELL

today are not so rugged as they used to be. In my day,
it was not uncommon for a group of our neighbors to
emerge from one of my three hour showings with a drawn
look and bloodshot eyes; thank the wrong person for a
lovely evening and stagger out into the open air. They
could take it.

To prevent modern audiences from getting deplorably
soft, I have written down the general precepts that we
old-time movie makers followed. A revival of these prac-
tices would result, I am convinced, in a general toughen-
ing of the whole moral fiber of the nation.

PLANNING

Planning a film defeats the whole purpose of a genu-
inely bad movie. In the first place, if you stop to think
about what you are doing, you run the grave risk of
getting an overall concept. In addition, you become
involved in beginnings, middles and ends. Such matters
may make the film interesting and spoil the effect.

The only way to make a truly bad movie is to begin
filming the moment you take the camera out of the case
and continue in that way until the spring is run down.
You are then ready to begin again. Forgetting to wind
the spring is sometimes an interesting device to employ
when your subject has climbed a monument or is balanc-
ing on the edge of a precipice.

EXPOSURE

The purchase of an exposure meter is so likely to
improve your films that I hardly need advise you in the
matter. An exposure meter makes it unlikely that you
can obtain those tantalizing scenes in which nothing is
visible except a dim object in the foreground, or a great
deal of movement that no one can understand. Some
of the worst movies I have ever seen were based on this
technique, but the beginner cannot expect to master it
all at once.

Guessing the proper aperture is the one sure means
of obtaining a proper mixture of scenes that are too
light and scenes that are too dark. Such changes force
the audience to adjust their eyes continually and create
exactly the sort of discomfort you are striving for. If by
chance you obtain one or two scenes that happen to be
correctly exposed, you need feel no despair; a few brief
scenes like that in a long film only illustrate what the
audience is missing.

CONTINUITY

A total lack of continuity is the highest possible
achievement in the art of making a bad movie. Au-
diences have been known to stagger out of the room
after less than an hour of such screenings. To perfect
your technique in this matter requires constant practice.

Under no circumstances should you take more than
one scene of any given subject, nor follow one scene
by another scene slightly related to it. The best results
are obtained by those who photograph nothing but
totally unrelated objects, such as monuments, the neigh-
bor's house next door, a parrot in the hotel at Scranton
where you stopped for lunch, Aunt Tryphena smiling

Photographs by Ernest H. Kremer, ACL

EXPOSURE: Guessing the proper aperture is only sure means of
getting effective mixture of annoyingly light and dark scenes.

rigidly at the camera, a cloud scene that you took with-
out a foreground and a long panorama of the horizon
on Long Island Sound.

If by error you should get two related scenes close
together, simply cut out one of them and leave the film
broken. The whole subject of broken films will be treated
under Projection.

CLOSEUPS

Closeups are only permissible if you make no provi-
sion for parallax. Some of the most effectively unsatis-
factory pictures I have seen were those in which the
subject's head was missing, or only half his face and
one eye were visible at the left side. A prolonged series
of closeups showing the stems of flowers is one out-
standing result to be achieved.

However, the risk of making your pictures more
interesting by the occasional use of closeups is so great
that the unskilled maker of bad movies would do well
to avoid the entire matter. Objects from twenty five feet
to infinity are the best, particularly infinity. Anything
too far away to be distinguished on the screen can
always be explained by the narrator ( see Projection I .

ACTION

Needless to say, action of any kind is disastrous to

a motion picture. The most effective films are those in

which nothing is included except immovable objects.

In taking a long scene of vour house, for instance, vou

COMPOSITION: Placement of a tree in the foreground for effect
of depth was a mistake seldom made by zealous early amateurs.

should be careful not to include any human beings.
If someone should accidentally come out of the door
while you are filming, stop the camera at once and
begin again when the person is gone. The only move-
ment resulting from such a strategem will be the mys-
terious disappearance of the person — which will serve
nicely to add to the overall confusion.

When photographing friends or family groups, make
absolutely certain that no one has anything to do that
might distract him from smiling self-consciously into
the camera. The best plan is to arrange everyone in
the middle of a lawn or up against a house and remove
all objects that might engage their interest. What you
are striving for is a sort of cataleptic immobility.

With some groups you may find it impossible to pre-
vent a little horseplay, chiefly the business of pulling
someone up front to be photographed. If this happens,
simply warn them that you are taking a motion picture
and they will stand quite still. The whole thing to be
avoided here is naturalness.

EDITING

Editing scarcely deserves comment. Even the posses-
sion of a splicer might improve your films. This stric-
ture applies with equal force to the inclusion of titles.
You might conceivably succeed in making your titles
too long and their appearance too short, but they would
still give the audience's eyes a brief rest.

The use of informal titles, [Continued on page 98]

CLOSEUPS, warns the author, are only permissible if you make
no provision for parallax. Decapitation here is 50% effective.

ACTION: When filming friends or family, make quite certain
no one has anything to do. The self-conscious smile is basic.

SCHOOL WORK, music and sports are among
activities in dawn-to-dusk closeup continuity.
Bottom frame is from five-way baseball shot.

COMEDY IN CLOSEUPS

WILLIAM MESSNER, ACL

THOSE Ten Best judges hit it about right. For they wrote, in reviewing my
picture, Hands Around the Clock, that the dawn-to-dusk continuity has been

a perennial favorite with personal movie makers. I, too, had toyed with the
idea over the years. But I also had in mind making a movie wholly in closeups,
one that would tell its whole story pictorially, without benefit of titles or narra-
tion.

And then one day those two concepts joined hands. I had been watching the
activities of my fifteen year old son as he tried, rather desperately, to fit into a
single day all of his varied occupations. Here under my very nose was exactly
what I was looking for. I would picture his activities around the clock, but I
would picture them only in closeups of his busy and facile hands. Even the
main title seemed to write itself.

MAKING THE MAIN TITLE

And the making of that title was about as easy. Obviously, Hands Around
the Clock called for clock hands swinging noticeably around the dial. There was
my background. I took a large-faced clock of slightly Gothic design, removed
the glass front to avoid reflections and then smoothed a coating of Glass Wax
over its polished plastic body for the same reason.

The perceptible movement of the hands was achieved by fitting a rubber
grommet over the hand-setting knob in the back, cutting a groove around the
outer circumference of the grommet and then wrapping a length of string one
complete turn around this groove. When, off stage on the side, the long end of
the string was pulled smoothly, the clock hands revolved as I wanted. There
then remained only a wind-back of the film and a double exposure over this
shot of the main and credit titles.

PLANNING FOR TRANSITIONS

But long before that was done, 1 had made a simple listing of my son's
typical daily activities. This was then roughed into a shooting script covering
broadly the main points to be considered. From this, a final shooting script
was prepared, taking up the action a sequence at a time and filling it in to the
finest detail of setting, type of shot (whether CU, MS, etc.) and, especially,
noting any necessity for fades, dissolves, multiple exposures or the like.

It seemed to me that these latter directions were particularly important, for
in a film without titles putting the correct visual transition in the correct place
is often a necessity. Perhaps a sample portion of the first sequence in the film
will make these methods clear.

Sequence 1. Bedroom.

(a) Fade in; door with "Genius at Work" on it; gradually open door — ■
dissolve to:

(b) CU, Genius sign; wind back film. Superimpose:

TELEPHONE SPLIT IMAGE

BASEBALL MULTIPLE MONTAGE
TYPE A FILM-USE CONVERSION FILTER

No. 1 : Boy's
hand holding
phone — f/3.5

No. 3: Telephone poles and
wires (use filter) — f/ll

No. 2: Girl's
hand lifting
phone — f/5

No. 1: Exposure 4 ft.— f/8 +

No. 5: f/8

No. 2-f/5.6-8

No. 4: f/8

No. 3: f/8

FIG. 1: Included in the author's script book was the diagram
above plotting action, exposures for three-way split screen.

FIG. 2: Still more complex was the five-way montage executed
in the baseball sequence. Diagram is visual check on script.

16mm. scenes by William Messner, ACL

SELECTED FRAMES from the opening sequence are seen above. The
lead title was double exposed over moving clock hands rotated from
behind by string. The Genius-At-Work sequence used eleven special

effects — including lap dissolves, double exposures, extreme close-
ups, single framing and a zoom-camera shot — in only eight shots,
all carefully plotted in advance. Vitamin pills at table were gag.

(d) SCU, alarm clock on table; dissolve to:

(e) ECU, alarm clock face; use telephoto lens on
titler.

(f ) CU, hands on covers flexing and unflexing fingers.
Superimpose:

(g) SCU, bringing up hands around ears to drown
out alarm; cut: make note of footage at start and finish
of wind-back. Superimpose:

(h) Shoot in titler 42 inches away: alarm clock on
black velvet. Single frame and move clock around the
outer edge of the frame 3 times; work clock to center
and dissolve. Wind back and fade in clock and zoom to.
2 feet. Watch frame counter and cut.

Involved in the eight scenes of this opening sequence
there are (if you care to count them) no less than three
lap dissolves ( with their component fades and wind-
backs), three double exposures (with their attendant
wind-backs and frame counting) , one pan shot, two ex-
treme closeups (with their necessity for special planning) ,
one single frame series and one camera zoom. I think
you'll agree that you've simply got to know in advance
where such effects are going to go.

TRIPLE SPLIT SCREEN EASY

Another interesting sequence — calling for a three-way
split screen image — required careful advance planning.
but was really quite easy to execute. I wanted to suggest
that the boy was calling his girl friend (of the moment)
concerning that evening's date. Carrying out the "hands"
theme, it was produced as follows:

First, using a clip-on filter ring. I prepared a simple
masking device. It began with a semicircular piece of stiff.

opaque paper which, fitted horizontally in the ring, would
mask off either the upper or the lower semicircle of view.
Positioning it first to mask the upper section, I added a
strip of black tape to the arrangement so as to mask off
further the lower right quadrant. In the lower left quar-
ter of the frame I then shot the boy's hand toying with
our telephone.

Rewinding the film the noted number of frames. I now
quarter-masked the lower left quadrant and shot a similar
closeup at lower right of the girl's hand holding her tele-
phone. There remained now to create some connection
between the two. This was supplied by positioning the
half-circle paper mask across the bottom of the frame,
extending its upper edge just slightly to be sure of an
overlap, winding back the film and then exposing a suit-
able pictorial bridge.

TYING TWO TOGETHER

I decided on an outdoor shot of telephone wires against
the blue sky. This, in turn, necessitated another script
note to be sure and insert the correct conversion filter
for using Type A film in daylight. And finally, of course,
I had to be careful to mask my viewfinder in each case
to match the cutoff of image imposed on the lens. But it
seems to take longer to tell about this sequence than it did to
do it. The script for it ran like this, and to make sure of get-
ting it right I added alongside of it the sketch in Fig. 1.

Sequence 9. Telephone split image — note footage indi-
cator.

fa) SCU, mask out all but lower left: show receiver
off the hook and boy's hand plaving with phone wire
(wind back) .

(b) SCU, mask out all but [Continued on page 101]

Using less than 400 feet of film, a Ten Best winner produced a

300 foot picture over five weekends. Advance planning did it

and Kodak

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3-Seeond Loading is accomplished merely by mov-
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ftiple Speeds of 16, 24, and 64 frames per sec-
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idded later or if the film is to be shown at sound-
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Exposure Lever runs film when pressed half forward.
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fnclosed View finder adjusts to observe fields
covered by any of the lenses available for the camera
. . . also incorporates parallax-conecting indicators
for extreme close-ups. Finder slide "click stops"
when moved to number matching the lens.

3-Seeond Loading Is accomplished merely by mov-
ing cover slide to OPEN position, opening door,
slipping in film magatlnt, and closing cover. Mae*
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Sim speed. Speed 64 is for slow-motion effects.

fxposure Guide "dials" correct exposure to use for
any operating speed, any lighting condition, any
subject — indoors or out. It accepts the card which
comes with each film mageiine . . . giving outdoor-
indoor exposure values for that particular film.

fxposure lever runs film when pressed half forward
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[ili

FRAME COUNTING THE FILMO

In the June, 1950, issue of Movie
Makers, Arthur A. Merrill wrote in
The Clinic about a Frame Counter
For Filmo. I would now like to add
my "two cents' worth" in connection
with the same subject.

First, if you are counting frames,
you probably intend making a double
exposure or a lap dissolve, either of
which requires the use of the hand
crank for back-winding. Each turn of
this hand crank passes twenty frames.
Therefore, I count the exact number
of turns made backward, after which
I make sure that the handle is pushed
all the way in so that it turns as the
camera runs forward. During this
operation, I simply duplicate the
same number of turns (or fractions
of turns) used in back-winding.

With a little practice on an un-
loaded camera, one can become quite
skillful in stopping the crank handle
"on the nose."

Oscar H. Horovitz, ACL
Newton, Mass.

WIRE RECORDING TECHNIQUE

I have read many articles in Movie
Makers on how to make wire record-
ings for our home movies. My daugh-
ter Marilyn and I have very little
trouble keeping ours in sync, because
this is the way we do it.

The equipment used includes two
portable phonographs, a Sears Silver-
tone recorder and a Bell & Howell
185 single-unit sound projector. The

first frame of the title is put in the
gate, and the wire recorder is started.
Marilyn says, "This is reel 1, or 2,
etc." As the number is called, I start
the projector, which is run at 16
frames per second. I then watch the
wire recorder, while Marilyn reads
the commentary and raises or lowers
the music volume.

This system has proved very suc-
cessful, with our reels and wire re-
cordings invariably finishing to-
gether.

A. Theo Roth, ACL
San Francisco, Calif.

# * #

A WORKING LIBRARY on accom-
plishments and techniques in all branches
of photography may be consulted at
George Eastman House, the international
photographic center in Rochester, N. Y.

# # #

A CORRECTION

One primary error and another of
secondary importance crept into our
presentation in January of A Titling
Tell-All, by John E. Clossen. These
are:

( 1 ) The author, in giving an
example of the chart's operation in
determining camera-to-card distance,
wrote: "We intend using, let's say, a
1 inch lens on an 8mm. camera." With
that equipment, the chart showed the
camera-to-card distance to be 20 inches
— which is correct. . . . For no reason
that we can recall, we changed the
example to read "a 1 inch lens on a
16mm. camera," but we still left 20
inches as the answer — which is incor-

Pictures, plans and ideas to
solve your filming problems

rect. The correct camera-to-card dis-
tance in the latter instance would be
10 inches.

(2) The secondary error occurred
in the caption under the chart, in
which we (not the author) claimed
that "the chart can be used (with
equal facility ) with 8mm. or 16mm.
cameras." This is not wholly true.

The chart can be used in direct
readings throughout for 8mm. cam-
eras only. However, it can be used
quite as successfully with 16mm. cam-
eras if the chart's Focal-Length-of-
Lens calibrations are translated into
16mm. terms — i.e., read 12.5mm. on
the chart for the Sixteen's 1 inch
standard lens, 25mm. for the Six-
teen's 2 inch telephoto, etc. The other
operations may then be followed as
outlined.

The Editors
New York City

# * *

MOST GOOD MOVIES have a pleas-
ing variety of the three basic camera
positions: long shot, medium shot and
closeup.

# -x- *

SERVICE SHEETS FOR ACL MEMBERS
The following service sheets, re-
produced in handy reference form
from past articles in Movie Makers,
are available to ACL members with-
out charge, on request:

A Titling Target; Making A Mask Box;
Synchronizing Sound on Wire ; Rear Pro-
jection at Home; Simple Cartoons; A
Periscope for Pond Films; Tricking Out
Titles; Solving Parallax; Emergency
Titles ; Choosing Editing Tools ; Arrange
Before you Edit; All Good Cameras Got
Wings; Films from Nursery Rhymes;
Yosemite; Going to Gaspe, and Quebec.

Requests should be addressed to
Consulting Department, Amateur
Cinema League, 420 Lexington Ave-
nue, New York 17, N. Y.

A. THEO ROTH, ACL, of San Francisco, and his daughter, Marilyn, ready for recording.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers, 420 Lexington Avenue.
New York 17, N. Y.

Please do not submit identical items to
other magazines.

THE SHOT PLOTTER "

Simple to make and easy to use, the camera shot

plotter will improve your angles and aid your aching back

DANIEL HARRIS

THAT layout of pictures last month called What's
Wrong With My Angle? was right up my alley. I've
suspected for sometime that a little more experi-
mentation in camera placement would improve a lot of
our amateur pictures. Now photographer Kramer has
proved the point beyond argument, with his vivid pairs
of wrongs and rights.

One thing I did note, however. All of his examples
were shot out of doors, where it's a good deal easier to
move your camera about and pick the really best angle
(although, even then, lots of amateurs don't bother.)
Indoors, it is often another story. Trying this, that and
the other camera position in the square footage of the
average home can become quite a chore. Often, one or
more pieces of furniture have to be moved, a rug rolled
back and so on. Besides, if the scene is to appear ex-
actly as it will on your film, you will have to move your
lighting units, too, with each new setup.

Perhaps these problems explain why there is so little
experimentation with camera angles in average indoor
filming. If so, the gadget to be described — known vari-
ously as a camera plotter or shot plotter — may be just
what your movies need. But, before explaining the shot
plotter in use, let us first construct one. Here are the
materials needed:

1. An 8 by 10 inch sheet of celluloid or clear plastic
about Ys of an inch thick.

2. Two bottles of waterproof India ink. The inks used

FIG. 3: A floor plan of your living room, drawn to scale, is
scanned by plotter. Movable scale cutouts would be better yet.

should be of differing colors in order to distinguish the
angular differences of the various cine lenses.

3. A ruling pen and compass, of the type used by
draftsmen.

4. A protractor.

5. A straightedge.

For all practical purposes, the only lenses used for
indoor filming (8mm. or 16mm.) will be the wide angle,
the standard lens and the 2x telephoto. Below are listed
the horizontal angles of view for these three lenses on
a 16mm. camera:

THE LENS THE ANGLE

15mm. 34.0 degrees

25mm. 21.5 degrees

50mm. 10.9 degrees

Angles of view in lenses of the same focal length but
differing manufacture may vary by 1 or 2 tenths of a
degree. But for all practical purposes the figures given
here will be adequate. So now to work.

First determine the vertical center line of your cellu-
loid and draw in this line along its length. Two inches
from the bottom of the plotter-to-be draw a horizontal
line. Where these two lines intersect will be the camera
position, and all angles will be measured from this point
(see Figs. 1 and 2). With the protractor, plot the angles
of your cine lenses. Then, with the ruling pen and one
color of India ink, draw out the sides of the angle. Do
the same for all the lens angles you want to use. Stagger
the colors of the ink for each angle (first black, then
red), so that it will be easier to distinguish them. The
compass is then used to connect [Continued on page 100]

FIG. 1: For 8mm. cameras, the shot
plotter shows angles of 9mm. (wide
angle), 13mm. (standard) and 25mm.
(2x telephoto) lenses in home use.
Diagram for these angles is above.

FIG. 2: For 16mm. cameras, lenses of comparative focal
length and similar function are charted on the plotter.

CAUSE

and EFFECT

Photographs for MOVIE MAKERS by

LEO J. HEFFERNAN,

FACL

THUS far, in a series which began back in December,
we have examined into the subject of interior lighting
under the following heads: December — A Lighting
Formula — in which it was shown that four lighting units
(key, fill, back and background) could be combined
according to rote to create acceptable patterns of illumi-
nation; January — Look At Your Lighting — in which we
carried forward this formula in general purpose and
special purpose scenes; February — Some Common Light-
ing Errors — in which we pictured (and discussed) some
of the pitfalls awaiting the unwary light man.

This month we mop up. We have gathered together
still other examples of imperfect lighting, with, of course,
suggestions for their correction. Then, ending the series
on a note of positive precept, we shall submit two ex-

FIG. 2: An unbalanced lighting pattern, with harsh highlight
and deep shadow, is another result of too few lighting units.

FIG. 1: Inadequate lighting besides creating a muddy, under-
exposed picture, also leads to unsatisfactory depth of field.

FIG. 2-A: Addition of fill light at left and back light on
hair evens contrast range and pulls subject from background.

FIG. 1-A: More light adds sparkle to exposure, means using
a smaller diaphragm with consequent increase in field depth.

ample* of what might be called "effect" lighting. They
are, actually, nothing more than special purpose lighting
setups, in which the treatment is dictated by the mood or
action of the scene itself . . . And now, on to the errors.

INADEQUATE LIGHTING

Because of its basic simplicity, this difficulty is one we
might well have examined earlier in the series. We bring
it in now at the express urging of the editor, who reports
that readers have been perturbed by the seemingly "pro-
fessional" quality of the lighting units used in these illus-
trations. That such equipment is not essential to effective
lighting is, I believe, adequately proved by the picture on
page 74 of this issue.

However, the fact still remains that acceptable lighting
cannot be created with an inadequate level of illumina-
tion. And underexposure is not the only difficulty it
creates. To a degree, this can be counteracted by using a
faster lens at its widest aperture — say, at //1.9, 1.5 or 1.4.
But to do so is only to make more noticeable the other
blemish of inadequate lighting.

This is too shallow a depth of field. The situation is
shown in our Figs. 1 and 1-A. In the first of this pair,
both these effects of inadequate lighting are apparent. The
picture is dark and muddy from underexposure. But on

FIG. 3: Light-toned areas in a setting, such as this corner
wall, tend to wash out when lighting units are moved close.

top of this, by using his widest aperture, the cameraman
has so shallowed his depth of field as to throw his fore-
ground figures out of acceptable focus and his back-
ground into a blur. In Fig. 1-A, with the addition of more
light, the exposure is more even, the lens has been
stopped down and the depth of field is perceptibly better,
at both front and back.

UNBALANCED LIGHTING

Another likely difficulty induced by an inadequate
number of units is unbalance in one's lighting treatment.
Highlights will be too harsh, shadows too dense, and the
pictorial effect generally unpleasant. Reflecting surfaces
may be used, of course, on the off -light side of the subject.
But they are never a satisfactory substitute for more
lighting units.

Take Fig. 2 as an example. Here the only apparent
illumination comes from a key light placed at a medium
height and to the right of the camera. While, in the con-
trolled printing of a still picture, the texture of the high-
lighted right cheek can be held to a degree, it still was
impossible to retain detail in the shadows. In the much
slighter contrast range of color film (from 2:1 to 4:1),
the unpleasant contrasts would be even more pronounced.

Fig. 2-A, on the other hand, shows the improvements
which may be effected by the addition of only two more
lighting units. Here the key light has been moved in
slightly towards the camera, and a fill light has been
added to the left of the camera, effectively wiping out
the heavy shadows on the entire left side. But, most im-
portant of all, a back light has been brought to play on
the girl's hair from the left rear. This, combined with the
shadow-lightening effect of the fill light, noticeably pulls
the subject away from the background to which she is
stuck in Fig. 2 . . . Not a bad return for an investment
in only two more lighting units!

LIGHTING TOO CLOSE

Another attempt to alleviate the effects of inadequate
lighting is the practice of moving one's available units
closer to the subject. The aim here is to take advantage
of the fact that the intensity of any source of illumination
varies inversely as the square of the distance from that
source to the subject. In other words, a given lighting
unit positioned at 10 feet from a subject will, when posi-
tioned at 5 feet, give four times as much light rather than
twice as much.

All well and good, but . . . [Continued on page 93]

FIG. 4: Here, with the lighting pulled in close to right edge
of set, the white blouse is over-illumined and distracts eye.

Simple, inadequate illumination may be the
cause of countless lighting difficulties

. . . The fourth and last of a series

FIG. 5: A single, strongly directional light source and heavy
shadow areas are marks of effect lighting in "moonlight" shot.

FIG. 5-A: With more light on the fill side, less density in
shadow areas, effect changes to one of warm morning sunlight.

MARCH 1951

News of the Industry

Up to the minute reports on new

products and services in the movie field

New RCA "400" A completely
redesign e d
model of the RCA "400" Junior 16mm.
sound projector has been announced by
the RCA Engineering Products Depart-
ment, Camden, N. J. It is smaller and
nearly 10 pounds lighter than the 1950
model. The company also has an-
nounced that improvements have been
made in the RCA "400" Senior pro-
jector.

Both Junior and Senior models are
available in either a single-case unit or
the heavier, more powerful double-case
design. In addition, several types of ex-
ternally mounted speakers are offered
for versatility. The "400" Junior has an
8 inch speaker, while the "400" Senior
has a 10 inch. The models are designed
to permit "live" comment or for play-
ing phonograph records. Film sound is
automatically cut when the microphone
or a record player is being used.

Both projectors are equipped with a
2 inch //1.6 coated lens, 750 watt lamp,
spare reel and other accessories. They
are designed to operate on 100-125 volt,
60 cycle AC single-phase power source.

EK Brownie Designed to make
movie making as tech-
nically simple as snapshooting with the
famed Box Brownie, the Brownie Movie
Camera is the latest addition by the
Eastman Kodak Company to their line
of 8mm. instruments. "We believe it is
the simplest movie camera ever made,"
James E. McGhee, Kodak vicepresident
and general sales manager, has de-
clared of the Brownie 8.

Although geared to simplicity, the
Brownie Movie Camera still offers every
feature fundamental to effective movie

ROBERT C. BERNER, sales manager of Keystone
Manufacturing Company, was named last
month to second term as president of Pho-
tographic Manufacturers & Distributors Assoc.

EK'S BROWNIE Movie Cam-
era, with fixed focus f/2.7
lens and sprocketless 8mm.
spool leading, is tops in sim-
plicity. $47.50 fti; case, $4.

making. These include a 13mm. f/2.7
Lumenized lens of universal focus; a
single camera speed of 16 frames per
second; a built-in exposure guide and
easy-to-set diaphragm control; footage
indicator; tripod socket, and a view-
finder corrected for parallax at the
specific closeup distances of 2 feet and
4 feet from the subject.

The camera uses 25 foot rolls of
double 8mm. film, but a sprocketless
loading gate gives this operation the
simplicity of the magazine design. The
Brownie Movie Camera (without case)
is priced at $47.50 including the fed-
eral tax. A rugged field case, with drop
front, is available at $4.00.

Kcilart The Kalart Company, Inc., of
Plainville, Conn., has recent-
ly acquired the Craig line of movie
editing equipment and now manufac-
tures and merchandises the well known
Craig Projecto-Editor, splicer, rewinds
and film cement.

Kalart also announces the appoint-
ment of Aubrey E. Bishop as advertis-
ing manager of the company. He was
formerly with General Motors, in Bris-
tol, Conn.

G-E names Edwin H. Howell has
been appointed special
representative of General Electric Com-
pany's Apparatus Division in Washing-
ton, D. C. He was formerly manager of
sales of the G-E Meter and Instrument
Division in Lynn, Mass. Mr. Howell
will work with government agencies
created in connection with national de-
fense.

Donald E. Craig, formerly assistant
manager of sales, succeeds Mr. Howell
in his former post.

TWO Still imports Two new

3 5mm. still
cameras have appeared on the Ameri-
can market from Germany. The Tenax,
made by Zeiss - Ikon, is especially
adapted for rapid sequence photog-
raphy. It loads with standard 35mm.
film cartridges in black and white or
color and yields one-inch square pic-
tures. A special lever at the front of the
camera is depressed after each exposure,
thus transporting the film and reten-

sioning the shutter at the same time.
With "T" coated //3.5 Zeiss Tessar
lens, the Tenax is priced at $89.50;
with coated //3.5 Novar, $66.00.

Another 35mm. camera comes in two
models, the Iloca I and Iloca II.
The Iloca I focuses manually and is
equipped with an Ilitar //3.5 coated
lens. It takes 35mm. cartridges in color
or black and white and has flash-syn-
chronized Vario II shutter with speeds
to 1/200 of a second. It is $39.95 in-
cluding tax; with a Pronto-S shutter
(1 second to 1/300) and delayed action
device, it is $49.95.

The Iloca II is a similar instrument
but features a precision-constructed
coupled range finder. Price is $75.00
including tax.

Both the Tenax and the Ilocas are
distributed in America by Ercona Cam-
era Corporation, 527 Fifth Avenue. New
York 17, N. Y.

Wollensak names Appointment

of Norman
Kuegler as sales manager of Wollensak
Optical Company, Rochester, N. Y., has
been announced. His duties will cover
coordination of dealer and distributor
sales, as well as advertising of Wollen-
sak products. He was formerly with
Sears Roebuck.

DeJur appoints Dejur - Amsco
Corpora ti on,
Long Island City. N. Y.. announces the
appointment of George V. Mainardy as
export sales manager of its photo-
graphic products. Mr. Mainardy brings
with him many years of experience in
international trade.

Kam-Lok A new device which en-
ables a camera to be
quickly attached to or detached from a
tripod is known as the Johnson Kam-
Lok. The mechanism is in two dove-
tailed parts which may be released by
pulling a chain attached to a spring-
loaded locking pin.

The top portion is screwed into the
tripod socket of the camera; the lower
part is screwed onto the tripod. To
mount the camera on the tripod, simply
slide the two parts together and they
lock automatically. A pull of the chain

MOVIE MAKERS

THE KAM-LOK, one port on camera, other on
tripod, speeds mounting, dismounting units.

releases the sections so that the camera
may be slid off the tripod. Kam-Lok is
distributed by General Photographic
Supply Company. 136 Charles Street,
Boston 14, Mass.

New booklet Films for Education,
Entertainment and
Religion is the rather lengthy title of a
64 page, 1000 item catalog recently
published by Nu-Art Films. Inc.. 112
West 48th Street, New York 19. N. Y.
In addition to listing 16mm. sound and
silent and 8mm. films, the booklet tab-
ulates film strips, slides and other vis-
ual aids. It will be sent free to anyone
writing to the above address.

E. K. personnel J°hn c- Schulz,

general manager
of the Eastman Kodak Company's Chi-
cago division, has retired after 47 years
of service with the company. A dinner
in honor of his tenure was given in
Rochester on January 19. . . . Appoint-
ment of James A. Hill, jr.. as manager
of E.K.'s Chicago branch has been an-
nounced, with Warren D. Starrett being
named as assistant to Mr. Hill. . . . Paul
W. Lyddon has been placed in charge
of medical and dental X-ray product
advertising at Rochester. He was for-
merly editor of Kodak News. . . . Ran-
dall G. Satterwhite has been appointed
assistant manager of E.K.'s Rochester
branch. . . . A. R. Isakson has been
named assistant manager of Eastman
Kodak Stores. Los Angeles.

Cause and effect

[Continued from page 91]

This seemingly advantageous lighting
law also has its disadvantages. One of
them is seen in Fig. 3, where lighting
sources have been brought too close to
a predominantly light setting, causing
it to "burn" or wash out. With this
white wall in mind, the movie maker is
cautioned to check with his meter the
illumination level of any large light
area in his scene.

A complementary distraction is found
in Fig. 4. This is a pleasantly com-
posed scene; but the more you study
it, the more you will find your eye
drawn to the strong highlights on the
hairdresser's blouse. The effect in a

color scene would be even more pro-
nounced. What has happened here is
that, with the lights drawn close in to
the edges of the set, the illumination
becomes too hot on any figure posi-
tioned near the scene's margin. Here
again is a weakness to watch for. check-
ing with your meter as your players
walk through their assigned actions.
The general solution to such hot light-
ing around the scene's edge is to use
more units placed further back.

SPECIAL EFFECT LIGHTING

We come now to a pair of pictures
illustrating that popular special effect
which our editor, in ordering it, iden-
tified as Lighting-A-Room-After-The-
Room-Lights-Have-Been-Turned-Off. It
is popular in personal movies and may
be used in many effective ways. Fire-
place scenes, mystery movies, putting
the children to bed in a darkened room
— these and other opportunities will
occur to you.

In any such instance, this Lighting-
A-Room-After effect has certain invari-
able characteristics: (1) there must be,
at least seemingly, a single strong light
source: (2) the setting or the action
must make clear the nature of that
light source, i.e.. firelight, moonlight, a
burglar's flashlight, a street lamp, etc.;
(3) the direction at which the light
source falls on the scene must be
strongly from the side and. often,
slightly from the rear, thus creating a
few strong highlights and much deep
shadow; (4) the majority of the picture
area (up to 75 percent) should be kept
in shadow, using only the dimmest of
fill lighting to preserve some detail.

These requirements are fulfilled, we
believe, in our two studies of the am-
bitious angler. In Fig. 5 we have tried
to suggest him as he sets his alarm
clock by moonlight for an early morn-
ing start. In Fig. 5-A, bringing slightly
more overall illumination to bear on
the shadow side of the subject, we show
him in the drowsy reverie of the dawn's
first sunlight.

Both of these scenes, of course, were
shot with the strong directional light
of the sun itself. And, filmed in color,
the faked moonlight illumination will
be still more effective. The trick here,
of course, is to shoot such a scene (put-
ting the baby to bed, for example) on
your indoor Type A film but without
using the usual conversion filter called
for by daylight. Add an underexposure
of at least one full stop to aid in block-
ing up the shadows and the scene will
take on all the silvery blueness of true
moonlight. For the firelight effect, re-
verse the procedure. Film it indoors, of
course, and with a concentrated arti-
ficial light source in the fireplace. But
shoot it on outdoor film and again omit
the corrective filter. A warm, glowing
orange will bathe the scene and sub-
jects.

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MARCH 1951

Precision Engineered Movie Camera by
Europe's Finest Camera Craftsmen!

EUMIG 88

The Only 8mm Movie Camera with

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EUMIG 88, With
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Tlie outstanding Eumig 88 actually prevents incorrect
exposure whether you use color or black-and-white
rilra! The unique built-in coupled photo-electric cell
which controls the diaphragm opening automatically
regulates the correct exposure reuuiied.

In addition, you will find other technically advanced
features to bring professional picture quality to your
8mm movies — precision clockwork motor with more than
average run, single frame release for cartoons and
trick work, continuous run lock to take pictures of
yourself, automatic film gate for simple threading
and precise frame registration, and wide range of
speeds for slow motion photography.

See the Eumig 88 at Your franchised Dealer

or Write Dept. 210 for free Booklet "Y"

Exclusive Distributor In The U. S. A.

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50 West 29th Street New York 1, N. Y,

LATE RELEASES

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

STAHL

EDITING AND TITLING SERVICE
33 West 42 St. New York 18, N. Y.

Two 3^ stamps for giant catalogue. State size. >

8 - 1 6 m m Silent, Sound,
Sales, Rental, Exchanges.

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FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

Features and short subjects for 8mm. and 16mm. screens

Robert Bruce Rogers, painter, and Paga-
nini Caprices, played by Ruggiero Ricci.
These exceptional sound films, in both
color and black and white, are for sale
at from $30 to $90 the reel.

• The Earth Sings and Muscle Beach,
two new 16mm. sound releases, are from
Brandon Films, Inc., 1700 Broadway,
New York 19, N. Y. The former is a
filmic interpretation of Palestinian songs
and dances. The Hebrew ballad singer,
Raasch, provides the sensitive musical
background. Running time is 15 minutes.
Muscle Beach, a prize winner at the
1950 Edinburgh Film Festival, is a
humorous and poetic impression of the
California beach scene. Produced by
Irving Lerner and Joseph Strick, the
8 minute film features Earl Robinson
(Ballad for Americans and The House I
Live In) singing his own songs, with
lyrics by Edwin Rolfe.

■I The Movies and You, a series of 12
one reel subjects explaining to the pub-
lic behind-the-scenes activities of movie
making, including excerpts from many
famous films, is now available on 16mm.
black and white sound prints from the
Industry Short Subject Project, 25 West
43rd Street, New York 18, N. Y. Offered
at present are Let's Go to the Movies,
produced by RKO Radio Pictures; The
Art Director, by 20th Century-Fox; The
Soundman, by Columbia; The Theatre
and You, from Warner Brothers; His-
tory Brought to Life, from Paramount
Pictures, and Screen Actors, from Metro-
Goldwyn-Mayer. Six additional subjects,
concerned with the director, the cine-
matographer, the costume designer, the
writer and adventure films and music,
will be available June 15 and Dec. 15.

■ Riders of the Deadline, 16mm. seven
reeler being distributed exclusively by
Commonwealth Pictures Corporation,
723 Seventh Avenue, New York 19, N. Y.
Hopalong Cassidy Bill Boyd is hot in
pursuit of a smuggling gang in this
whooping western whirlimagig. Andy
Clyde, Jimmy Rogers, Bob Mitchum, and
Fiances Woodward are also employed
to help or harry the redoubtable Hoppy.
Searing drama for the saddle and gun-
play addicts.

H Trooping the Colour, 10 minute.
16mm. color sound print, is being dis-
tributed by the British Information Ser-
vices. Filmed by the Crown Film Unit
on the King's (official) birthday, June
9. 1949, the pomp and splendor of this
impressive ceremony have been expertly
caught and brilliantly presented. King
George, Princess Elizabeth and other
members of the Royal Family participate
in the events, which take place annu-
ally on the famous Horse Guards Parade
at Buckingham Palace.

B Almanac Films announces a new se-
ries of twenty John Kieran Kaleidoscope
films on science and nature studies,
which will be of particular interest to
educators and students. The films, avail-
able on a rental or sale basis, are black
and white 16mm. sound, each subject
on one reel running 10 minutes.

Among the titles listed are The Atom,
Bee City, Clouds, Ferns, Plastics, Sculp-
ture, Shore Birds and Tides. Further in-
formation may be obtained from Almanac
Films, Inc., 516 Fifth Avenue, New
York 18, N. Y.

H Cineconcert: Artists Films, Inc., 8
West 45th Street, New York 19, N. Y..
announces release of a series of musical
films, each about a reel in length, devoted
to a single concert artist or a specific
composition performed by the most emi-
nent artists of our day. Among selec-
tions currently available are The Music
of Chopin, played by Sondra Bianca and
recorded during an actual Carnegie Hall
recital; Fantasy, featuring Beethoven's
Appassionato sonata, the playing of Miss
Bianca and the color interpretations of

■ Green Blazes, one reel, 16mm. color,
silent, is on free loan from Jack Camp,
Kiekhaefer Corporation, 660 South Hick-
ory Street, Fond du Lac, Wise. Exciting
coverage of the annual 11 mile Cypress
Gardens outboard steeplechase makes
this a tempting item for Floridaphiles
and sports lovers. Dick Pope, jr., son of
Cypress Gardens' proprietor, and Buddy
Boyle are two of the better known dare-
devils specializing in this brand of ma-
rine madness.

MOVIE MAKERS

Mary Robilatto, Albany, N. Y.

William Rosenfeld, New York City

Reginald A. Saalmans, Weston, Canada

Francis M. Spoonogle, Alplaus, N. Y.

Samuel Tepper, Albany, N. Y.

Western Maryland Cinematographers' Club,

Cumberland, Md.
Mark Q. Allen, Columbus, Ohio
Maxwell M. Belding, West Hartford, Conn.
Tan Bergman, Halmstad, Sweden
John Caruso, New York City
Mrs. Ruth M. Doherty, Denver, Colo.
E. G. Doumit, Cathlamet, Wash.
Mrs George R. Fann, Ft. Wayne, Ind.
August Koch, jr., Baltimore, Md.
Donald C. MacGillivray, New York City
Walter A. McDermott, Lancaster, Pa.
J. Paul Nolt, Lancaster, Pa.
Dr. W. M. Orqvist, Ashtabula, Ohio
Holmes E. Packard, Detroit, Mich.
Mrs. George Rusha, Milwaukee, Wise.
Dr. Otto Schales, New Orleans, La.
V. B. Edwards, Idaho Falls, Idaho
Paul C. Wallack, Tulsa, Okla.
Harold J. Burton, New York City
Don Kieffer, Rocky River, Ohio
Jack H. Oster, M.D., Chicago, 111.
Rev. Ernest A. Dawe, Weston, Canada
Richard Kearney, Kenosha, Wise.
George Miller, Racine, Wise.
Ra-Cine Club, Racine, Wise.
Harry E. Tracey, jr., Pittsburgh, Pa.
Cine-Club de Cannes, Cannes, France.
Jeannette M. Fitzpatrick, Albany, N. Y.
Dr. W. Friedman, New York City
Duane E. Gilmore, Pipestone, Minn.

E. H. Hilliard, Dayton, Ohio
John P. Masterson, New York City
Allen G. Roach, Alta Vista, Va.
Reta Louise Sweezie, Detroit, Mich.
Arthur V. Avila, Oakland, Calif.

George D. Becker, M.D., Springfield, Mass.
Golden Campbell, Detroit, Mich.
Richard B. Domingos, Macon, Ga.
Frederick L. Erminelli, Pawtucket, R. I.
Karl Gordon, Akron, Ohio
Roy W. Jamieson, Toronto, Canada
Mrs. Julia Kamsler, Flushing, N. Y.
John 0. I. Lee, Honolulu, T. H.
Helen Pep, Kew Gardens, N. Y.
"Court" Stanton, Cleveland, Ohio
Ed. Weinberger, Denver, Colo.
William Witter, Guam, Guam

F. O. Barney, Seattle, Wash.
John J. Carey, Hamilton, Canada
George Etz, Lubbock, Texas

E. G. Howard, Seattle, Wash.
Joseph T. Lappan, Pittsburgh, Pa.
W. J. McCall, Memphis, Tenn.
Edward Romanik, New Haven, Conn.
Dr. Glenn A. Sutton, Saylesville, R. I.
George N. Chakrian, Dayton, Ohio
Frank Giraud, San Francisco, Calif.
Ed. Jensen, Oklahoma City, Okla.
Henry J. Kelly, Rahway, N. J.
Otis Lumpkin, Texarkana, Texas
George P. Maurer, Wauwatosa, Wise.
William Shaw Perrigo, Beloit, Wise.
Frank W. White, Memphis. Tenn.
Alex J. Andrews, Jackson Heights, N. Y.
Mrs. Marion Garr, Lakeview, N. Y.
Irving Healy, Alameda, Calif.
Dr. E. Noel F. Jenkins, Estevan, Canada

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covered cable and plugs. Write for
complete details.

.^m^ ^* FRANK C. ZUCKCR ,- ^

(Vflm€Rfl€ouipni€nT(o.

\*i»« 1600 8R0H0WRH tltHI SDRK CITS V ..

Brooklyn gala The annual 16mm. Gala Show of the
Brooklyn Amateur Cine Club, ACL,
will be held at the St. Felix Street Theatre, 122 St. Felix
Street, Brooklyn, on April 6. Scheduled thus far for the
program are The Gannets, 1950 Maxim Award winner
by Warren A. Levett, ACL, of West Hartford, Conn. ; The
Director, 1950 Honorable Mention winner by Cal Dun-
can, ACL, of Lee's Summit, Mo.; Gingerbread House, by
Charles H. Benjamin, ACL, and Memory Lane, club con-
test grand award winner, by Bert Seckendorf, ACL.

Priced at $.95 each, tax included, tickets may be ob-
tained from Russell Rathbone, 116 John Street, New York
7, CO 7-5288, or Eugene Adams, 55 West 42nd Street,
New York 18, PE 6-5298.

The club's third annual 8mm. Gala, held in January,
featured The Outpost, by Harry W. Atwood, 1950 Hon-
orable Mention winner. Also shown on the program were
the first and second prize winners in the club's 1950 con-
test: High Card Goes, by Louis Dishotsky and Arthur
Rosenthal, and A Finished Movie Maker, by Earl Kaylor,
Nicholas Vartholom and Mr. Rathbone.

Hartford guest Oscar H. Horovitz, ACL, of Newton,
Mass., was a guest of the Hartford
Cinema Club recently, where he screened his 1950 Ten
Best winner, Ringling Bros, and Barnum & Bailey Cir-
cus, and an earlier production, Dream With Music.

Trenton celebrates in a justifiably festive mood,

members of the Trenton (N. J.)
Movie Makers gathered for their regular meeting last
month to celebrate their fifteenth birthday. Organized in
1936, the club has been active in the amateur film field
ever since. Present officers are R. James Foster, presi-
dent; Ernest Oliver, vicepresident ; J. George Cole, ACL,
secretary, and Harold E. Cranmer, ACL, treasurer. The
birthday committee was headed by George W. Guthrie,

George Labes

A SEMINAR ON SOUND by Amateur Movie Society of Bergen County
(N. J.) brought out (I. to r.) Fred Feudale, ACL, George Labes, Stephen
Moran, ACL, George Weigl, ACL, Cy Jenkins, ACL, at the mike, Gene
Huebler, ACL, and William Messner, ACL.

ACL. Assisting him were Roger R. Bell, Mr. Cranmer,
Daniel Kerwin and Mr. Cole.

Mr. Cole's 800 foot 16mm. Kodachrome film, Friendly
Nova Scotia, was the feature of the entertainment por-
tion of the program. Refreshments were served.

Dayton dines The fourth annual banquet of the Day-
ton Amateur Movie Makers Club, ACL,
was held at the YMCA in January. Harold A. Williams
delivered the invocation, and Harry W. Bailey introduced
the new club officers for the coming year. Joseph Led-
better, donor of the club trophy, made the presentation to
this year's winner, Milton H. Bolender, for his film,
Wonders of the Wayfarer.

Other winners and their films were Robin Hood and the
Cub Scouts, by E. F. Evans; My World, by Elizabeth
Hamburger, ACL; Waymarks from Bow to Boston, by
L. E. Bolender; Black Lake, by R. B. Williams; Canadian
Vacation, by H. A. Williams; Out West, by G. Brandt,
and Seattle, by H. Cruzan.

Kenosha winners The Gate Was Open, by Gene
Arneson, ACL, received the grand
award in this year's club contest sponsored by the Ken-
osha (Wise.) Movie and Slide Club, ACL. It was also
top winner in the 16mm. class. Other winners were, in
8mm: Beautiful Wisconsin, by B. Hockney; Salome, by
Jack Smith, and Vacation Days, by Dr. Graves; in
16mm.: Jack Frost at Work, by the Reverend Edwin
Jaster, ACL, and Time on His Hands, by W. G. Marshall.

Metropolitan movies

AWARD WINNERS in annual contest conducted by Associated Amateur
Cinema Clubs, of Chicago, are (I. to r.) standing: Othon Goetz, ACL,
Clarence Koch; seated, Cyril S. Dvorak, president of the Associated
group, Mrs. Alice Koch and William Ziemer.

A post-holiday 8mm. pro-
gram by the Metropolitan
Motion Picture Club, ACL, of New York City, presented
Late Again, club project produced by the Grand Rapids
(Mich.) Amateur Movie Club; Hawaiian Highlights, by
Joseph F. Hollywood, FACL; Kid-Napped, by Victor An-
cona, ACL; Land of My Dreams, by Joseph J. Harley,

MOVIE MAKERS

FACL, and An Anaesthetic Fantasy, by
Ernest Kremer. ACL.

An advance notice by MMPC has
announced the dates for this year's
Gala Night at Hunter College Playhouse
as April 27 and 28. Early-bird ticket
buyers should get in touch with Harry
Groedel, ACL? 350 Fifth Avenue, New
York 1, CH 4-5200. Tickets are priced
at $1.35 each, tax included.

Rochester session

Harris B. Tut-
tle. ACL, of
the Eastman Kodak Company, recently
addressed members of the 8mm. Movie
Club of Rochester, on the subject, Tak-
ing Movies Indoors. The following films
were projected: Menemsha, by Jose
Pavon, ACL. 1949 Ten Best winner;
Life as You Remember It, Doomsday
and Selkirk Shores State Park, by club
member Charles Haefele.

Oak Ridqe Lighting, Composition
and Settings were the
subjects of a lecture-demonstration con-
ducted by Norman Lindblom, at a re-
cent meeting of the Oak Ridge Cinema
Club. The screening portion of the
evening was devoted to the March of
Time film, March of the Movies, which
traces the history of the theatrical film
from its early Mary Pickford-Charlie
Chaplin days to the present. Here is
an item other clubs might examine
with interest.

Seattle The Seattle Amateur Movie
Club. ACL. held its annual
banquet at the Engineers Club in the
Arctic Building in January. Mrs. Al-
bert Vena headed the arrangements
committee. New Officers for 1951 were
installed, as follows: George Hayden,
ACL, president; Pete Delaurenti. ACL.
vicepresident; W. B. Bowden, continu-
ing as secretary-treasurer; Walter Ma-
kowski, sergeant-at-arms; Mrs. Robert
Cummins, program chairman; Mrs.
Vena, refreshments; Mrs. John Crock,
bulletin chairman, and Richard Crom-
well, disc jockey. The reception com-
mittee includes Andrew Sharpe, Mrs.
Ralph Lund and Mrs. Duncan Restall.
The banquet film program featured
Youth, by A. 0. Jensen, ACL; The
Pay Off, by Bill and Frances Crock,
and A Weekend for Three, by Richard
Thiriot, the latter a 16mm. film. Also
scheduled, if time permitted, were an
unnamed 8mm. film by Francis J. Bar-
rett and the club production. Give and
Take.

Milwaukee elects Dr A w

Hankowitz,
ACL, has been re-elected president of
the Amateur Movie Society of Milwau-
kee, ACL. Other officers for 1951 are
Naomi Gauger and Martha E. Rosche,
ACL, first and second vicepresidents.
respectively; Lillian Logeman. secre-
tary, and Lu Gaedtke, treasurer. Com-

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Send your film for free criticism or estimate

FILMS & EQUIPMENT

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mittee chairmen are Eugene H. Mill-
mann, ACL, membership; Frank L.
Krezner, ACL, program; Hobart Ol-
son, club productions; DeLylia Mortag,
shut-in; John Bakke, technical; Miss
Gauger, music, and Joseph Salerno,
contest.

Richard Franzel, ACL, is club cus-
todian and managing director of the
1951 Gala Show; Lorraine Fahrenberg
edits the club paper, Cine-Crat; Rob-
ert E. Lees heads the publicity commit-
tee, and Miss Rosche is managing di-
rector of the 1952 Gala Show. This
year's Gala Show will be presented at
the Shorewood Auditorium on Friday
evening, March 30.

St. Louis ladies The Amateur Mo-
tion Picture Club
of St. Louis turned its attention to the
distaff side for its January session, the
annual Ladies Night. On the specially
arranged program were A Child's
Dream, by club member Mrs. M. B.
Manovill; 1949 Honorable Mention
award winner, Caledonian Chronicle, by
Esther S. Cooke, ACL, of Albany, N. Y.,
and Three Hours Away, by Helen C.
Welsh, ACL, also of Albany.

K. C. awards Results of the an-
nual contest spon-
sored by the Kansas City (Mo.) Ama-
teur Movie Makers, ACL, are, in order,
as follows: 8mm. — Who's Afraid?, by
Gene and Irene White; The Kansas
City Centennial, by Louis and Dorothy
Goodson, and The Summons, by Earl
and Lorene Martin; 16mm. — The Di-
rector, by Cal Duncan, ACL, and Irene
Duncan; No Bullets, by the Leonard
Carrs, sr. and jr.; Tivo Miles High, by
Jim and Sylvia Willoughby; Christmas
Time, by Don Closson, ACL, and Mil-
dred Closson; Innocents Abroad, by
Aidan and Eve Cockburn, and Whittlin'
an Listenin, by Charles Burns, ACL,
and Virginia Burns.

The panel of six judges included
Harry Hilfinger, of ESO-S Pictures; Dr.
R. A. Holy and William Brewer, of the
University of Kansas City; Tom Tutt,
of Eastman Kodak; Omar Putman, of
the Post Office Department, and Don
Weakley, of the Billy Moran School of
Commercial Art.

S. F. screening A program of three
films was present-
ed to members of the Cinema Club of
San Francisco. These were North of
the Border, a commercial film shown
through the courtesy of the local Cana-
dian consul; Shots from Here and
There, a collection of color slides by
Stan Shayer, and The Golden High-
way, by Leon Gagne.

New club officers for the coming
year are Ray Frick, president; Dena
Vogelsang, secretary; Arthur Fritz,
treasurer, and S. C. Kloster, program
chairman.

How to make bad movies

[Continued from page 83]

such as writing on wet sand at the
beach, presents a special hazard, inas-
much as very little difficulty is entailed
and the temptation is sometimes great.
However, a lack of forethought (see
Planning) is generally an adequate
safeguard.

PROJECTION

Now we come to the real heart of
the matter. The early writers on this
subject held that all projection should
be done from 50 or 100 foot rolls.
However, it was later found (vide
Collins, C. V.; The Disintegration of
the Home; 1934) that a break every
four minutes for rewinding and thread-
ing gave people in the audience a
chance to refresh their Scotch and
soda; while the longer reels, though
giving a few people a chance to sleep,
were generally more foolproof. The
matter is still under debate. I have
found that a three hour showing of
100 foot rolls can reduce an audience
to hysteria.

Films should never be inspected
before projection time. The screening
of at least one reel reversed left to
right greatly intensifies audience re-
action. Moreover, unexpected breaks
or tears in the film, particularly those
torn perforations which make the image
jump wildly up and down on the
screen, contribute a great deal to the
general nervousness of the situation.
Excessive employment of this device,
however, may cause some people to go
out in the kitchen for fresh ice cubes
or another coke.

Needless to say, a running com-
mentary is the only means of keeping
the audience awake. Preparation is
quite unnecessary. I am afraid, how-
ever, that we old timers are the only
ones who really know how to do it — -

"This first scene is something I took
from a train window in Alaba — oh no,
that's a panorama of the golf links.
Moved the camera a little too fast on
that one. . . . Here's a shot I took
inside the Washington Monument. It's
a little dark. But you can see Aunt
Tryphena's umbrella there, that little
moving spot. . . . Now watch this. It's
a squirrel. See him? — see him? Wait
a minute, I'll run that back. . . . There —
up in the corner of the picture. . . .
These next shots are a little jerky. . . .
That's Addie. Missing one ear — hah
hah! . . . Now wait a minute — here
comes something. I got a shot of some-
body being pulled out of the rapids at
Niagara Falls. It's out of focus — I had
it set at two feet — but you can see
him all right, that small dark blur on
top. See the — oops! Just hold every-
thing, folks. The film broke . . ."

Those were the good old days.

MOVIE MAKERS

CloseupS-What filmers are doing NOW YOU CAN GET A

Jon C. Kraker, ACL, of Guatemala
City, Guatemala, writes that Hayden
Smith, ACL, of Flint, Mich., is visiting
him and that the two are engaged in a
cooperative filming venture recording
the country's exotic charms. Betty Leis,
ACL, of Milwaukee, is expected to join
them in the near future. It begins to
sound like a growing colony of ACL'ers,
and a more pictorial setting would be
difficult to imagine.

To turn a well-worn phrase — there
doesn't seem another way to say it,
Larry — we take both personal pleasure
and professional pride in bringing you
in this issue an article by Laurence
Critchell. (See How To Make Bad
Movies, page 82.)

This is not his first piece in our little
paper, by any means. Back in Febru-
ary, 1935, we ran something called
Caribbean Chances which was his first
published article — in this or any other
magazine. Of it Larry wrote us re-
cently: "It was god-awful! I believe I
was sixteen or seventeen at the time,
had taken one cruise to the Caribbean
and aspired to be a Burton Holmes."

What Critchell really aspired to be
was a professional writer. Which is
precisely what he now is, with his
stories being published variously in
The Atlantic, Cosmopolitan, Collier's
and the Saturday Evening Post. His
first story in the big time was Flesh
and Blood for The Atlantic, which has
since been widely anthologized in the
0. Henry Best Stories collection and
others.

But this sort of success was a time
in coming. There was a period of nine-
teen months (October '39 to April '41)

Mary Critchell

LEWIS C. COOK, ACL, author of many how-fo>
build articles for MOVIE MAKERS, is called
back to service cs U. S. Navy photo chief.
Camera is 35mm. Eyemo, brother of Filmo 16.

LAURENCE CRITCHELL, former associate in
ACL's consulting department, returns to MOVIE
MAKERS with How To Make Bad Movies.

when Larry served on the League's
staff as an associate in the Consulting
Department. Then there were "Greet-
ings!" and a period of nearly ten years
when he served in the United States
Army.

Returning to Movie Makers with his
present piece, Larry wrote us: "I feel
like I'm home again." . . . We're glad
to leave it at that.

We have had an informative note
from W. A. Deutsher, ACL. of Mel-
bourne. Australia, a member there of
the Victorian Amateur Cine Society.
ACL, who has recently returned from
an extensive filming expedition to
Africa.

Most of his time and about 10.000
feet of 16mm. color film were expended
in the rarely visited regions in the
Anglo-Egyptian Sudan, recording the
daily activities of the local tribes. Since
few whites have ventured into this area
before, the films promise some unique
coverage. Hope we see them.

Esther Cooke, ACL. of Albany. N. Y.,
paid us a Lincoln's Day visit, bringing
with her some more footage on Mexico
filmed last fall, which she intends add-
ing to her 1950 Ten Best winner. Next-
door Neighbor. Esther, the travel
agent's delight, is off again later this
year to look into the big film doings
at London and Glasgow during the
Festival of Britain.

Another traveling lady member.
Helen Pep, ACL. of Kew Gardens.
N. Y.. is presently boning up on photo-
graphic tricks of the trade, prior to
taking off for an extended filming tour
of Europe and the Middle East. Her
plans call for an educational film
pointing up the repetition of similar
ideas, customs, designs and rhythms in
the arts, crafts and folkways of the
countries visited.

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100

MARCH 1951

Classified advertising The shot Plotter

^ ^^^^m^H^^^^^ *3 [Continued from page 89]

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■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

■ NEW MORTON SOUNDMASTER single system
camera in stock, three lens turret, external 200'
magazine, and DC portable power pack to shoot
anywheres. Price $645.00 plus S25.00 batteries. Bolex
H-16 with 1" f/1.9 lens, excellent, $195.00. Filmo
70A with 1" f/1.9 lens, excellent, $85.00. B&H Dip-
lomat projector, excellent, $150.00. Buy, sell, rent
all 16-35mm. motion picture equipment. Send your
listing for our liberal cash offers. THE CAMERA
MART. Inc., 70 West 45th Street, New York.

■ SYNCHRONOUS motors installed on 16mm. pro-
jectors, $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

■ UNBEATABLE ! ! Up to 40% discount on brand
new movie and still photographic equipment, r or
prices and discounts write STRAUS SUPPLY CEN-
TER, Dept. MM, 113 West 42nd St., New York 18.

■ WORLD'S LARGEST SELECTION OF FINE
MOVIE LENSES— Guaranteed, available on 15 day
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So. Wabash Ave., Chicago, 111. Att : M. M. James.

FILMS WANTED

■ WANTED to buy: the 16mm. film taken of the
BOSTON BRUINS HOCKEY TEAM about 1930. Ad-
dress RUSSELL H. KETTELL, Concord, Massachu-
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FILMS FOR RENTAL OR SALE

| CASTLE films for sale : 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
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■ NATURAL COLOR SLIDES, Scenics, National
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fi FREE Movies: Thousands of subjects. Interesting.
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■ 1951 ROSE PARADE MOVIES. Kodachrome. Col-
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8mm. 100 ft.. $14.95. C.O.D.'s accepted. California
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■ BORROW THESE FILMS— Latest Directory to
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■ BARGAINS: 16mm. Sof. features, $22.50; Shorts.
400. $2.25; Silent 400', $1.95 up; 1600' Reels, $1.55
1200' new, $1.20; 800' reel and can sets, $1.89; Stor-
age cans for 2-1000 reels, $.95; shipping cases, 1600'.
16mm. 3-5 reels, reconditioned, $1.90; as is, $.97.
Lists Free; Trades Accepted. Victor 16mm. turret
camera, //1.5 1" lens, $125.00. Bell & Howell (2000'
capacity) Showmaster projector $165.00. Semi-Pro-
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auditorium speaker, $175.00. Large National Film
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New York 19.

| SOUND film library & projectors, sacrifice; free
list. F. L. HAWLEY, 3719 English Ave., Indianapolis,
Ind.

■ 1951 ROSE PARADE— PASADENA. CALIFORNIA
— OUR 9th year. Color, beautiful (16mm. Headline
150', $22.50, DeLuxe 400', $60.00) (8mm. 75', $11.25,
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■ ADD to your own ALASKA or MEXICO movies
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extra scenes taken while making adventure pictures for
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rare color shots of SHOOTING THE RAPIDS in
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scenes of Eastern seaboard MAINE TO VIRGINIA.
NEIL DOUGLAS, Explorer & Lecturer, Box 664,
Meriden, Conn.

MISCELLANEOUS

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HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
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and $1.00 for new negative and 2 5x7 enlargements,
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

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■ 16MM. SOUND movie camera for rent. Write
ANTHONY IOVINO, 86-01 Commingwealth Blvd.,
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THE ACL LEADER

signature of a GOOD FILM

To all ACL Members:

If you haven't ordered your ACL
Leaders yet, you're missing all the
glow and sparkle that the beautiful
color footage will add to your fin-
ished films.

AMATEUR CINEMA LEAGUE, Inc. 3-51

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| New York 17, N. Y.

Yes, as a member of ACL, I certainly want several
of the beautiful new Kodachrome leaders. I enclose
my check or money order for:

I . 16mm. Kodachrome leaders at $1.50 each

8mm. Kodachrome leaders at $1.00 each

I Nan

the appropriate angles with the corre-
sponding colors of ink (Figs. 1 and 2).
The same procedure is used to make
an 8mm. camera plotter. Here the most
often used lenses are listed below with
their angles of view:

THE LENS

9mm.
13mm.
25mm.

THE ANGLE

26.1 degrees

19.4 degrees

9.9 degrees

If additional lenses of longer focal
length are placed on the 8mm. plotter,
care must be used because of their
small angles of view. And you will be
sure, of course, in all instances to place
half of the total angle on each side of
the center line to secure the proper
layout of the plotter.

Now that you know how to make a
camera plotter, let us discuss some of
its uses. Let us suppose that you have
planned a simple family film. The script
calls for some scenes in the living room,
others in the kitchen, but you have yet
to determine their exact camera angles.
Let's take the living room first. Make a
diagram on graph paper of the objects,
props or furniture in the room. It
should be to scale and this scale should
be noted on the graph paper, say one
square equals one foot. See Fig. 3. With
this done, consult the script to deter-
mine where the players will be for each
scene. With your plotter you can now
spot the best camera positions on the
sketch by placing the transparent plot-
ter over the layout.

Move the plotter in all directions
until you have determined the desired
setup. At a glance you will now be able
to know exactly what background, ob-
jects and players will be in the scene;
what area the lights will have to cover
and how many will be needed; what
the limits of player movement will be,
and so on. In fact, for the greatest
flexibility in shot plotting, don't draw
in on the scale diagram any of the
movable objects in the room. Note on
the diagram only such fixed objects as
walls, windows and doors. For the fur-
niture and such, make scale cutouts of
them so that they may be moved at
will around the scale diagram of the
room. This saves a lot of wear and tear
on your aching back.

With the final results arrived at,
place a small mark on the sketch to
mark the camera position. As you can
see, a great deal of fussing with cam-
era-moving, furniture shifting, lighting
setups and players is done away with
by this method — as well as saving val-
uable film footage on unsatisfactory
shots.

Some readers may think this method
an unnecessary chore, but I have found
from experience that in the long run
it saves time. Your home settings are

MOVIE MAKERS

101

not going to change very much. So that
once you have them diagrammed, the
rest is easy.

As an additional use for the shot
plotter. I have found it most useful when
doing extreme closeup filming. By know-
ing the distance from the lens to the
object, it can be sketched onto the
graph paper. Then by placing the shot
plotter over the sketch, you can de-
termine exactly what field of view will
be covered by the lens to be used. Fi-
nally, holding the plotter over the actual
camera and object setup will aid you in
correcting horizontal parallax.

Inexpensive in materials and easy to
make, the shot plotter will soon prove
its worth in savings of time and trouble.
It will soon also create improvements
in vour camera angles.

Three-way theatre

[Continued from page 81]

of quarter round. Additional details
included the construction of a stand for
the projector and dual turntables, an
acoustical blimp for the projector, a
small stand for the slide projector and
the mounting of a permanent screen
and speaker at the other end of the
room. Seating was provided by folding
chairs.

VENTILATION NEEDED

When the theatre was finished, we
found that silent films were now truly
silent and sound films were greatly im-
proved due to the absence of projector
clatter and the absorption of echoes by
the acoustic tile. The plate glass (%
inch thick) provided a completely un-
distorted image, but transmitted almost
no sound. The only fault to be found
with the projection booth was a ten-
dency for it to heat up during a feature
length film. This is soon to be corrected
by the addition of forced ventilation,
but other filmers are advised to allow
for ventilation in the original plans.

THE SETUP FOR SOUND
The recording studio and dubbing
room (see Fig. 3) required almost no
additional work once the home theatre
had been built. With the projector in
the booth, narration could be recorded
outside the booth without picking up
projector hum. Music could be mixed
with the narration by means of the
dual turntable and mixer circuits, the
operator being able to see the screen at
all times through the glass window.
Synchronism was maintained by one of
two methods:

(1) Tape recordings were synchro-
nized by means of the Wilson-Garlock
Syncro-Meter, which automatically gov-
erns the projector speed so that it keeps
in step with the tape recorder.

(2) Sound on film recordings were
synchronized by means of a synchro-

nous motor drive on the projector
which keeps in step with the synchro-
nous motor of the Auricon Cine-Voice
sound camera. The synchronous model
of the Cine-Voice costs only a few
dollars more than the regular model,
but it has the great advantage of being
usable as a sound recorder and double
system camera as well as a single sys-
tem camera.

STAGE AND SCREEN

The sound stage (really the screen end
of the theatre) required only a few addi-
tional changes. Acoustic tile was nailed
to the ceiling and a set of draperies was
put up to cover the speaker and screen
(see Fig. 4). When in use, the folding
chairs were put away and the lighting
and sound equipment set up. For some
shots the drapes were used as a back-
drop. For others, a complete set was
constructed out of seamless paper
tacked to laths, which in turn were held
together with C clamps. Furniture for
the sets was generally borrowed from
the upstairs apartment.

This three-way theatre — packed into
only 189 square feet of space — was com-
pleted in a little less than two months.
And the results have eminently justified
the labor and money expended. For not
a week goes by but it serves us handily
in one or more of its three filmic
capacities.

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GOERZ AMERICAN

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Fitted to precision focusing mount which moves
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This lens comes in C mount for 16 mm cameras.
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Comedy in closeups iheCP, qqERZ AMERICAN

[Continued from page 85]

lower right ; show girl's hand picking
up phone, etc. (wind back).

(c) LS, mask out all but upper third
of frame; insert conversion filter for
outdoor shot; exterior shot of telephone
poles and wires.

FIVE-WAY MONTAGE
With this one behind me as practice,
I tackled later on in the film a real
test of advance planning and timing.
In the afternoon sequence I wanted to
suggest the boy's keen enjoyment of
baseball with his sandlot pals. I worked
it out as a five-way split screen mon-
tage.

Essentially the same technique (only
more of it) was used as was employed
on the phone sequence. First, with a
mask cut with a circular opening in
the center. I shot an extreme closeup
of two hands gripping and swinging a
bat handle. To achieve the necessary
enlargement, this was shot in a titler
with an accessory lens for the short
camera-to-subject distance. The foot-
age exposed was 4 feet and was, of
course, carefully recorded on the frame
counter of my Bolex H-16.

With this center scene as a symbol.
the same 4 feet were then wound back
four successive times while quarter-
mask shots were grouped around the

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102

MARCH 1951

WHICH DO YOU CHOOSE?

POOR young television! The lusty young giant,
now reaching into the lives of more than IO/2
million Americans, has already been charged with
an untold number of offenses against familial health
and happiness. Laid at its gleaming doorstep are in-
creases in eye strain and the divorce rate, decreases in
camaraderie and conversation. Familiar among indict-
ments against TV are declines in reading, children's
report cards, attendance at sporting events and at the
theatrical movies. And yet the latest of the arts (?)
surges onward — if not exactly upward.

Therefore,, it isn't going to bother the television
industry one image orthicon if we add another charge
to these mounting indictments. Nevertheless, we
hereby do charge TV with exerting a dangerous and
debilitating effect on the hobby of home movies! How
else can you explain the following facts and figures?
Item 1 : The total number of entries in the ACL's
Ten Best Amateur Films contest for 1950 dropped
off 43 percent over the same figure for 1949. This
stands without reference to the comparative quality
of the entries for the two years. However, it also may
be significant that in 1949 twenty one films were of
such excellence as to demand Honorable Mention; in
1950 this figure sank to sixteen.

Item 2: The total number of entries in the 1950
Novice Contest conducted by one of the country's
oldest, ablest and largest amateur movie clubs stood at
three. Entries in this popular and money-prized com-
petition formerly averaged at least a dozen. The drop
in interest: 75 percent.

Item 3 : Direct mail requests for tickets of admis-
sion to the annual Gala Show of one of America's
oldest, ablest, etc., 8mm. movie clubs stand this year
at exactly two. In former years, twenty five to thirty
such requests were received by mail alone.

In other words, a noticeable number of amateur
movie makers today are no longer interested either in
making good movies or in seeing them. For doing
either one requires a certain amount of initiative and
energy. Staring at television does not. It demands of
its devotees no effort other than keeping one's eyes
open and one's mouth shut. It is — and perhaps this is
its fundamental weakness — an essentially passive
recreation.

Making amateur movies is anything but passive.
Even at its lowest level, it is essentially a creative
pastime. At its highest level of expression, it may
indeed become art.

Which do you choose?

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

THE AMATEUR CINEMA LEAGUE, Inc

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Ralph E. Gray, Vicepresident

James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, INC.. 420 LEXINGTON AVE., NEW YORK 1 7, N. Y., U. S. A.

center take. These were other symbols
of baseball, such as a gloved hand
catching a ball, a foot sliding into base,
an umpire's thumb signaling "Out" and
the like. There is no need, I think, to
reproduce the script of this sequence.
Fig. 2 — which was alongside the sce-
nario in my notebook — should make its
execution wholly clear.

TIMING PIANO SEQUENCE

Also during the afternoon footage
there was to be a sequence showing
the boy as he practiced his piano. This,
I soon discerned, would involve some
extremely delicate problems of syn-
chrony; for, if the boy's hands were to
be shown in closeup playing something,
they must be synchronized later with
the music he actually played. Further,
my plans called for him to execute only
sections of three different numbers, with
lap dissolves in between for the change-
overs.

We began, without camera, by hav-
ing him play through the three selec-
tions singly, while I recorded each of

them on tape. Then I shot the picture
sequences in sections, while the boy
played the piano along with the tape
recorder playback. This system en-
abled him to perform pictorially in the
exact tempo of the recording, and at
the same time made it possible to stop
the camera periodically for the highly
desirable changes in camera angle.
With each change in camera position,
the beginning and end of the action
was purposely overlapped and later
edited out to the exact frame needed.

TYPE A THROUGHOUT

You may have gathered thus far that
the majority of the footage was shot
indoors on Type A Kodachrome. (Even
an outdoor sequence of faked moon-
light called for this emulsion, used in
the usual way for this effect: no con-
version filter, side lighting and up to
two stops underexposure.)

Furthermore, the entire film in its fin-
ished form turned out to be on Type A.
I had in the camera at one time some
daylight emulsion and took the sax play-

ing sequence with it, using daylight
(blue-glass) No. 2 photofloods. But
when it was returned from processing,
the flesh tones were so off color that I
had to retake the sequence on Type A.
My advice to fellow filmers is to con-
fine your indoor subject sequences to
Type A only, using roll-ends of day-
light film indoors on titles if you wish.
There the color qualities are less im-
portant.

All told. I exposed not quite 400 feet
of 16mm. film on Hands Around the
Clock (using the tag end of the fourth
roll on some title tests). The finished
film today is about 300 feet long, with
such cuts as were made being made for
tempo rather than faulty footage. The
actual shooting of the picture was com-
pleted in five weekends, which should
bear eloquent testimony to the value
of careful planning.

WHEN LIGHTING INTERIORS,
watch your shadows. Double shadows of
objects on walls are distracting and show
a need for rearranging your lights.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

THE ACL MOVIE BOOK

AMATIUf* CINEMA 'LEAGUE, INC.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 23 years.

Booklets and Service Sheets . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking. Current booklets
are: The ACL Data Book; Featuring The Family; Building a
Dual Turntable.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

3-51
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $6 (of which $2 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name-
Street.

City_
Zone

_State_

- I

Guaranteed for life. During life of
the product, all defects in work-
manship or materials will be
remedied free (except transpor-
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Jj or the movie-maker who wants a
16mm camera that's truly versatile—
and easy to use, too— the Bell & Howell
Auto Master is the choice !
The Auto Master is a precision instrument
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Are you an owner of a Bell & Howell Auto Load camera? For
spring and summer movie making, you will want the added ad-
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MOVIE MAKERS

107

CloseupS— What filmers are doing

Teenagers note: We have published
from time to time notes on some of
our busier members, who seem to be
equipped with four hands and require
no sleep. But these eager beavers must
now give the floor to one Mickey Hart.
ACL, high school student of Modesto,
Calif.

In addition to his studies, Mickey
manages to handle a paper route; his
own radio show, Teen Turntable Time,
on KTRB-FM every weekday afternoon
from 5:30 to 6:00; a fifteen minute pro-
gram for the Boy Scouts on the same
station, Saturday nights at 7:45, and
still bave time for planning and shoot-
ing his own 8mm. films. Mickey has
two films on the rewinds at the mo-
ment and is busy as well organizing
a high school movie club.

I N this cawnah, ladies and gentlemen,
we give you Miss Emily Materna, ACL.
of Memphis, Tenn., standing 6 feet 2
inches, weighing 210 and wearing pur-
ple trunks! All of which is the simple
truth, so help us, save perhaps the pur-
ple trunks, and we get the impression
Miss Materna would not scorn them, if
she thought they would advance her
project of the moment.

A new member of the League and a
relatively new movie maker. Miss M. is
obviously an individual who gets a big
bang out of life. Behind her latest hobby
are stints as a student concert pianist,
a teacher of dancing and a producer of
little-theatre drama. Augusta, Ark.,
where she began her exuberant exist-
ence, was clearly too confined for such
a personality, so that her parents soon
moved to Memphis before the infant
Emily could start raising a rumpus. For
a good many recent years Emily has
traveled on tickets of her own choosing.
her most recent junket being a three
week safari with another girl through
Guatemala.

When she stays home. Miss Materna
is a rate extension clerk in the Memphis
freight station of the Missouri Pacific

EMILY MATERNA, ACL, of Memphis, smiles as
she dreams of her future filming adventures.

Lines and a member of the Memphis
Amateur Movie Club. The lenses on her
Bolex H-16 are a 1 inch f/1.5, an //2.7
wide angle and a 6-inch telephoto. Of
her recent ACL membership she says
simply: "I wish to thank you for allow-
ing me to become one of you."

Apparently, the good folks at Holly-
wood, Florida, have been keeping
George Merz, ACL, and Mrs. Merz so
busy putting on their pctures that they
have had little time to worry about the
weather.

Beginning late in January and carry-
ing through last month, Mr. Merz has
had four shows at the new Hollywood
Amphitheatre, with audiences averaging
around 1200 and, he says, a brilliant
image on an 8 by 10 foot beaded screen.
In between these he has kept his proj-
ector warmed up with three screenings
at the city's Shufrleboard Club, two at
meetings of the Miami Movie Makers.
ACL, and a single appearance at the
Hollywood Women's Club.

Dr. Joseph J. Macko, ACL, of Cleve-
land, Ohio, is planning a production
built around the activities of Gilmour
Academy, a boys' prep school near the
city operated by the Holy Cross Broth-
ers from Notre Dame Academy.

I an Pollard. ACL. who sent us New
Zealand Reporting! on page 118, has
been making amateur movies for nearly
three years — or since shortly after he
got through a four year hitch in the
New Zealand Army overseas.

His camera he describes as an old.
English-made Cine-Kodak 8 Model 20.
with an f/1.9 lens which gives perfect
definition even in the mountainous long
shots which face it during his holidays.
Allied with it are a Kodascope 8 Model
33 projector, a Weston Master II ex-
posure meter and a tripod which (in
his article ) he ruefully admits he rarely
uses.

A member of the Otago Cine Photo-
graphic Society, Mr. Pollard last year
won the Holiday Film and Junior Cup
competitions and took second in the
club's four-minute contest. His other
hobbies are indoor basketball and moun-
tain climbing (he's a member of the
New Zealand Alpine Club), especially
in the rugged and unknown southwest
corner of the South Island. (That Not-
ornis, by the way, which he reports as
rediscovered there is simply "a genus
of flightless birds allied to the gallin-
ules," which in turn stem from the Latin
gallinula, a diminutive of gallina, or
hen.)

Work-wise Mr. Pollard is with the
government Income Tax department;
heart-wise, he adds, he is still single
and with no attachments.

COMMONWEALTH

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108

APRIL 1951

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THE MAGAZINE FOR
Bmm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

Closeups

The reader writes

New ACL members

I heard it with my own eyes

Filming a festival

Hints on dual turntables

New Zealand reporting!

Fine frames

Sequencing Sequoia

The clinic

Talking of the Ten Best

Will they fit my camera?

News of the industry

Clubs

On setting standards

April
1951

What filmers are doing 107

110

112

William Howe, ACL 113

Helen C. Welsh, ACL 114

Jack E. Gieck, ACL 1 1 6

Ian Pollard, ACL 1 1 8

From readers' films 119

Felix Zelenka 120

Aids for your filming 124

James W. Moore, ACL 125

Robert T. Kreiman 126

Reports on products 128

People, plans and programs 134

Editorial 138

Cover photograph by Roy Pinney from Monkmeyer

JAMES W. MOORE
Editor

DON CHARBONNEAU
Consultant Editor

-,/

ANNE YOUNG
Advertising & Production

Vol. 26, No. 4. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: g3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; S3. 50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries £4.00 a year, postpaid; to members of Amateur Cinema/League,
Inc., $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale/at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

109

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CINE EQUIPMENT

110

APRIL 1951

EDITING UNFINISHED

Dear Mr. Moore: I noted with interest
your editorial (Which Do You Choose?)
in the March issue of Movie Makers.
While I suspect that you had your tongue
in cheek when you wrote it, I can tell
you that I have been trying since No-
vember to edit some film I took at that
time in Florida. I haven't completed it
yet. thanks to the installation of a TV
set.

Warren A. Levett. ACL
West Hartford. Conn.

LACK OF TIME

Gentlemen: Your March editorial is
"way off base." Has it occurred to you
that it might be the lack of time and
the cost of equipment (ridiculous in
some cases) that is preventing the "peas-
ants" from participating more?

I would give my back teeth to win a
Ten Best award. But I can neither pur-
chase the type of equipment, quantity of
film, nor can I get together enough time !

I too dislike TV intensely; I don't and
probably won't own a set. But blaming
TV as you do in this editorial is too far
fetched.

T. A. Ludwic. ACL
White Plains, N. Y.

Let's ask Mr. Levett what happened to
his time.

"PAINT-BRUSHING" RECOMMENDED

Sirs: Bully for Critchell's colorful arti-
cle reviving interest in the neglected art
of bad movie making!

Possibly through an oversight, no
mention was made of the really funda-
mental technique of "paint-brushing." It
is here that it is possible to cover a much
larger area, or "swath," by moving the
camera back and forth — or. for that
vital spark of variety, up and down.
Hence the term "paint-brushing."

After resorting to this technique, I
have seen guests overstay their visit for
hours, encoring a film simply because it
inadvertently contained a steady shot or
two.

Richard H. Parytn, ACL
Hyattsville. Md.

SEE "IN BEAVER VALLEY"
Dear Mr. Moore: Sometime ago I read
in one of the movie magazines a short
review of the picture In Beaver Valley.

I have since seen this picture twice, the
first time for pure entertainment, the
second to profit by its lessons in supe-
rior color photography.

It is my conviction that every ACL
member should see this picture, not
once but several times. I received more
insight into composition, camera angles
and color rendition than I have been
able to receive in several years of movie
making and study.

Homer E. Carrico, ACL
Dallas, Texas

First recommended in these columns bv
Fred C. Ells, FACL, of San Diego, this
Walt Disney documentary was honored
only last month by receiving the Academy
"Oscar" as the best two-reel short subject
of 1950.

AID IN TURKEY

Dear Movie Makers: I noticed in your
listing of my membership in a recent
issue that you gave my address as c/o
Postmaster, New York, N. Y. It might
be of more interest to other members if
it were known that I am presently sta-
tioned in Ankara, Turkey, and would be
only too glad to render any assistance
I can to anyone desiring information
about this very interesting country.

Major John T. Slusher. ACL
U.S. Air Force Group
APO 206-A. c/o Postmaster
New York. N. Y.

WHEN, INDEED!

Dear Sirs: I have just read Card Stops
Cop on page 43 of the February issue.
May I ask when did it become necessary
for a photographer, amateur or profes-
sional, to have a license to take pictures?
E. Dale Kearns. ACL
Greensboro. N. C.

"RUSSIAN EASTER" NOT RED

Dear Mr. Charbonneau: Would it be
possible for you to substitute another
film for Russian Easter which you have
booked for our club screening in March?
My reason for asking this is because
of the present strong feeling against
anything Russian. I am afraid that when
the announcement of our club program
is published in our local paper many
non-members would misunderstand just
what our club is up to.

(Name Withheld)
Middletown, U.S.A.

Maxim Memorial Award winner in 1942,
Russian Easter was reviewed by the ACL
at that time in part as follows: "Russian
Easter is a reverent and impressive record
of the celebration of Easter in the Russian
Orthodox (Eastern) Church and in the

homes of Russians living in this country
(the United States) . . . George Serebry-
koff has made a sincere and moving docu-
mentary that bolsters one's faith in the
future of amateur films."

We see no reason now to change this
estimate in the slightest. Mr. Serebrykoff
— a naturalized citizen of the United
States, who later served for three years in
the U. S. Army — produced the picture in
New "York City and at a neighboring Rus-
sian Orthodox church in New Jersey. It
seems probable that if the heart-warming
religious rites which it pictures were in
practice today in Soviet Russia, our world
would be the better for it.

HOMEMADE LEAGUE LEADER

Dear ACL: Perhaps others of our over-
seas members might be interested in the
simple yet effective way I have recently
created my own ACL membership leader.
Being unable to purchase the official
colour leader because of currency re-
strictions. I have used one of the attrac-
tive decals you sent me in a small titler
to make a good substitute. Further, it
has the advantage of bearing one s own
name.

Lee Montaigne, ACL
Sydney. Australia

BACK COPIES, PLEASE

Dear Sirs: I have been successful re-
cently in securing current copies of
your excellent journal. But it has proved
impossible to find any back copies, to
which there is often helpful reference.
Now I turn to you to ask if there
would be any possibility to get them
through some of your readers. I should
like to get issues in the years 1947, '48
and '49 especially.

Holger V. Tobiesen
Faltskarsgatan 5
Helsingfors, Finland

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

FEW CITIES REMAINING

Dear Swap Shop: I want to report the
amazing results of my request in this
column a couple of months ago. At that
time I asked ACL'ers in a large num-
ber of far-off places if they would be
willing to take some shots of the cities
I visited during my Air Force travels.
The response has been overwhelming.
To date I have heard from four
chaps in Australia, three in New Zea-
land, two in Egypt, and one in Natal.
Brazil. That leaves a few cities remain-

MOVIE MAKERS

111

ing. and if anyone in these areas could
help me out. I could complete my film.
The places are the following: Calcutta.
Bombay. Allahabad. Karachi. New and
Old Delhi and Agra, all in India: Cairo.
Casablanca and Tripoli, in Africa;
Myitkyina, Burma, and Pearl Harbor.
T. H.

Kodachrome in 8mm. is what is need-
ed. And I shall be most pleased to
reciprocate with shots of New England
— or with raw film, if desired.

Bernard Leftox. ACL
1416 Blue Hill Avenue
Mattapan 26. Massachusetts. U.S.A.

ENGLAND FOR CEYLON
Dear Swap Shop: I intend making a
documentary film for which I require
16mm. color footage in and around the
following places in England: Wands-
worth. Eton and Kings College. Cam-
bridge. In return I could supply equal
footage of Ceylon scenes or Ceylon in-
dustries such as our famous Ceylon
tea. . . . Please write Air Letter.

H. C. Peiris
"Shanti" (No. 19 1
Gregory's Road
Colombo. Ceylon

MISSIONS FOR LOS ANGELES

Dear Swap Shop: I am making an
8mm. movie to be called Missions, and
I shall be glad to exchange scenes in
or around Los Angeles for. say. 12 or
15 feet of any mission in your section
of the country.

"u hen shooting these pictures, will
you please try to include some of the
padres in the scenes and to have a good
blue sky as a background? Also be sure
to send me data on the mission and
scenes taken, and I will follow any in-
structions given to me.

Douglas Archer. ACL
353 N. Foothill Road
Beverly Hills. Calif.

PYRAMIDS NEEDED

Dear Swap Shop: I need about 10 feet
of 16mm. color film of the pyramids at
Cairo. Egypt. I should like to add this
to a picture I made there last summer,
but missed getting the pyramids.

I would be glad to buy this footage j
... or what can I film for you?

Hodges Honxoll. ACL
700 Commercial Title Bldg.
Memphis 3. Tenn.

INDIA FOR EQUIPMENT

Fellow- Filmers: Are any of you in-
terested in personally-made films of my
country, or in books, objects of art and
so on from India? If so. Fd be glad to
swap them with you for raw film and
items of equipment you could buy for
me. Because of currency restrictions. I
can't send money out of the country.

N. P. Hariharan. ACL
Rajam House. Minchin Road
Jagathy, Trivandrum. India

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MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931

112

APRIL 1951

Palm Springs Desert Museum, Palm Springs,

Calif.
Henry Cyr, IF aterbury, Conn.
H. R. Dean, Binghamton, N. Y.
M H. Golden, Hartford, Conn.
Alfonso Gonzalez, East Boston, Mass.
Murray Klein, Brooklyn, N. Y.
Mark Lansburgh, Washington, D. C.

D. C. Marshall, Weston, Canada

Dr. Frank S. Palik, St. Petersburg, Fla.
Jerry Biedka, Chicago, Ml.
Merton M. Carter, Petoskey, Mich.
Tom C. Chapman, jr., c/o P. M., New York

City
Robert L. Clarke, Niagara Falls, N. Y.
George T. Elgin, Binghamton, N. Y.
S. W. Cleland, Dunedin, New Zealand
Norman W. Glickman, Brooklyn, N. Y.

E. A. Powellek, St. Paul Minn.
Otto A. Prier, 0. D., Robinson, 111.
William G. Sagady, Dearborn, Mich.

David L. Burdick, Rockford, 111.

Dept. of Instructional Materials, Pleasan-

ton, Calif.
C. J. Fuchs, Alberton, South Africa
T. Goldman, Montreal, Canada
Rev. Oral Hart, Sacramento. Calif.
Charles J. Kotoun. Mansfield, Conn.
Arthur H. Olson, Oak Park, III.
Edward E. Paul, Chicago, III.
John R. Shuman, Minneapolis, Minn.
Pvt. B. D. Tallis, Fort Bragg, N. C.
Albert J. Wagner, Chicago, III.
M. Dale Weaver, Porterville, Calif.
R. H. Yanney, North Canton, Ohio

Sam Billis, Southbridge, Mass.

P. F. Bolenbaugh, Hunter, Okla.

Dr. W. R. Cramer, Memuhis, Tenn.

Mrs. Leo Dawson, Washington, D. C.

W. A. Deutsher, Brighton, Australia

Donald W. Kilbrith, c/o PM, San Fran-
cisco, Calif.

Harry Paul, San Francisco, Calif.

J. Donald Shriber, D.D.S., Los Angeles,
Calif.

Major Harold A. Wicklund, c/o PM, New
York City

Francis C. Barbush, Harrisburg, Pa.

Theodore Bunn, New York City

Dr. Edward Hoffman, Pikesville, Md.

Arthur Johnson, Oklahoma City, Okla.

Albert L. Long, Coraopolis, Pa.

Robert A. McGowan, Saugus, Mass.

Robert F. Barnard, Chicago, III.

Jam: s Brown, Mileses, N. Y.

Clyde Cheatum, Wichita, Kans.

Raymond Greenberg, New York City

Mrs. J. W. Hornberger, Youngstown, Ohio

Dr. Clyde E. Miller, Pensacola, Fla.

Theodore Pollock, Passaic. N. J.

A. H. Bailey, Letcher, S. D.

Marian Crowley, Milwaukee, Wise.

Ray Fahrenberg, Milwaukee, Wise.

Myrtle Gronning, Milwaukee, Wise.

P. L. Grundeen, Estevan, Canada

Klamath Camera Club, Klamath Falls, Ore.

Arthur F. Schmidt, Cincinnati, Ohio

Mrs. H. P. Wise, Cambridge, Md.

Gilbert G. Browne, New York City

Michael W. Holm, New Brighton, Minn.

Prof. Piero Meroni, Milano, Italy

George A. Morgan, Lincolnwood, III.

Marc C. Norton, Champaign, 111.

Oscar A. Olson, St. Paul, Minn.

C. Wm. Westafer, Hopkins, Minn.

H. Zoulfikar, San Francisco, Calif.

Ann Maria Domingos, Macon, Ga.

Chris K. Economakis, New York City

Mrs. Dick Ellis, Duncan, Okla.

Jack Finear. Rochester, N. Y.

Jerome Goldberg, Cicero, III.

Mead Corp, E. L. Scott, Chillicothe, Ohio

Leonard S. Miller, Mattoon, IV.

John B. Perry, jr., Roanoke, Va.

Alton S. Rowley, Rochester, N. Y.

Cletus E. Seitz, Jackson Center, Ohio

Rev. Aloysius Balcerak. O.F.M., Buffalo,

N. Y.
Peter H. Buckley, New York City

Frank J. Chandler, Wauwatosa, Wise.
Elmer Wayne LeRoy, Denver, Colo.
Senior Hish School Art Dept., Valley

Stream, N. Y.
Selva Raja Yesudian, Zurich, Switzerland
Lawrence Deaktor, Pittsburgh, Pa.
Charles J. Kirby, Spencerport, N. Y.
S. A. MacSween, Glendale, Calif.
Oak Ridge Cinema Club, Oak Ridge, Tenn.

Dorothy A. Curtis, Mount Pulaski, III.
M. H. Lynch, Lamed, Kans.
Leslie J. Masten, Wilson, Conn.
Bruce L. Wood, Rockford, III.
Charles M. Courmier, New Iberia, La.
Frank E. Johnson, Hodge, La.
Dr. George A. Karp, Chicago, III.
Federico Schwadtmann, Maracaibo,

Venezuela
Waldo J. Tastet, Washington, D. C.
Eugene Coy, Kalamazoo, Mich.
R. A. Damiami, M.D., W aterbury. Conn.
Harold H. Doane. Bloomingdale, N. J.
Mrs. Audrey Frank, New Hyde Park, N. Y.
Mrs. Ernest L. Hann, Seattle, Wash.
Gerald W. Kunkle, Scottdale, Pa.
Gerald W. Rickard. Barker's Pt., Canada
Robert R. Robertson, Los Angeles, Calif.
Tom M. Scaperlanda, San Antonio, Texas
Ralnh E. Snvder, Ft. Wayne, Ind.
William S. Woodward, Phoenix, Ariz.

Harry Gardner, Newark, N. J.

Arthur L. Montgomery, Atlanta, Ga.

Jean Schwietzer, Irvington, N. J.

V. B. Westfall, jr., Fallbrook, Calif.

Louis J. Zavist, Newark, N. J.

Giorgio Alliata. Milan, Italy

Louis Feldman, Edgemere, N. Y.

William Huttman. jr., Middle Village, N. Y.

Lloyd E. Weichinger, River Grove, III.

George Chung. Reedley, Calif.

Mrs. Martin Clancy. Sioux City, Iowa

Gilberto Colombo. Milano, Italy

A. C. Huah. Chiewell, England

Dr. R. V. P-rkins. Pana, II'.

M. L. Potter, Park Ridge, III.

Peter C. Trapolino. Rochester, N. Y.

V. N. Wayman, Indianapolis, Ind.

James Be? worth, Union, N. J.
William Buchele. Toledo, Ohio
James F. DeFendis. Fresno, Calif.
Gerard Schoenwald, New York City
Harry Zielke, Edmonton, Canada
Chas. E. Bendorf. Westmont, N. J.
John A. Issaris, Saratoga Springs, N. Y.
George N. Koutsoukos, Washington, D. C.
Adam Kroehle. Cleveland, Ohio
Howard B. Meyers, Evanston, III.
Anthony Roman, Valley Stream, N. Y.
Smokv Mountain Movie Club, Asheville,

N. C.
William L. Zietzke. c/o FPO, San Francisco,

Calif.
Chas. H. Grounds, Albany, N. Y.
Lawrence Hammerstone, Riegelsville, N. J.

Odin Hougen, Whitehorse. Canada
E. Jarolimek, Cleveland, Ohio
Gordon 0. Jatzek, Milwaukee, Wise.
Mrs. Lon C. Rice, Teller, Alaska
Charles J. Baldwin, Dallas, Texas
Claude R. Davenport. Washington, D. C.
Anthony Iacovello, New York City
Robert F. Koerner, Berlin, N. Y.

Dr. Louis H. Kuchera, Albert Lea, Minn.

Milton S. Levinson, Flushing, N. Y.

Ceicle Vickers, Hemingford, Neb.

Robert J. Werner. Washington, D. C.

Clyde Whitten, Binghamton, N. Y.

Carl W. Judy. Woodmont, Conn.

Wm. J. McClintock, jr., Baltimore, Md.

Wally Pecoroni, East Providence, R. I.

James R. Bernard, Jersey City, N. J.

W. Lynwood Heaver, M.D., New York City

Mrs. Judy McVey, Sweet Grass, Mont.

L. Mould, Toronto, Canada

D. F. Nuebling, Evansville, Ind.
Ferdinand Welebir, M.D.. Silver Spring,

Md.
Walter F. Westerman, Rockwell City, Iowa
Percy I. Estes, Kansas City, Mo.
Carl Liebert, Milwaukee, Wise.
Rev. Frederick L. Long, Paterson, N. J.
Carmen Mastri, Chicago, 111.
R. D. McKneely, Sayville, N. Y.

E. R. Naugle, New York City

Mrs. I. E. Owen, Fond du Lac, Wise.
James D. Pearson, D.D.S., Wabash, Ind.
E. Salmona, Ismir, Turkey
Vernon R. Spitaleri, College Point, N. Y.
Dr. Frederick Thompson, New York City
Marty Badaracco, W eehawken, N. J.
Joe Barton, Omaha, Neb.
Harold E. Bessey, Omaha, Neb.
Ed. Binkley, Omaha, Neb.
J. E. Cama, Brooklyn, N. Y.
Ralph Cooper. Bronx, New York City
Jack W. Elliott, Klamath Falls, Ore.

Capt. Edward S. Ikelman, c/o PM, Seattle,

Wash.
Mike Kobold, Omaha, Neb.
John L. Koutsky, Omaha, Neb.
J. B. Low, Omaha, Neb.
Lyle McBride, Omaha, Neb.
Daniel Metliz, Brooklyn, N. Y.
Harold C. Ramsey, Omaha, Neb.
Orville Reichenberg, Klamath Falls, Ore.
Jack Stephan, jr., Madison, Wise.
Carroll Swindler, Omaha, Neb.
George L. Wagner, Omaha, Neb.
Wayne Wilson, Omaha, Neb.
Major Thomas B. Browne, c/o PM, New

York City
W. E. Donald, Portland, Ore.
E. T. Earnest, Dallas, Texas
Paul Eugene Frye, M.D., Lonaconing, Md.

Hodges H. Honnoll, Memphis, Tenn.
Frank E. Marshall, M.D., Weehawken, N. J.
David Nadata, Brooklyn, N. Y.

E. J. Ransom, Lansing, Mich.
Jack Stone, St. Louis, Mo.
Roland Wuerth, Valley Stream, N. Y.
A. Fleming, Oregon City, Ore.

William B. Hanson, M.D., Minneapolis,

Minn.
Lionel Pasen, Toronto, Canada
John Pellegrini, Vacaville, Calif.
Robert W. Rediske, Detroit, Mich.
Al Roberts, Jackson Heights, N. Y.
Norman J. Tavan, Mt. Rainier, Md.
Robert D. Williams, Dayton, Ohio

Dr. Robert B. Camp, Loveland, Colo.
I. L. Dobyns, Bloomsburg, Pa.
H. Fisher, Brooklyn, N. Y.
H. C. Holloway, Burlingame, Calif.
Owen E. Ottley, San Mateo, Calif.
Julio Megre Pires, Manjacaze, Portuguese
East Africa

F. P. Rose, Portland, Ore.
William C. Adams, Houston, Texas
James W. Armstrong, Henderson, Ky.
Andrew J. Bagin. East Orange, N. J.
Helen L. Barnes, West Burlington, Iowa
Anton F. Hudec, Cicero, III.

Charles Hyams, Cincinnati, Ohio
Geneva P. Leilich, R.N., Chicago, III.
Victor Nielsen, Teaneck, N. J.
Joseph E. Reagan, Philadelphia, Pa.
Paul E. Reiss, Detroit, Mich.
Ernest D. Schettler, Salt Lake City, Utah
John M. Segrave, Charlotte, N. C.
Alfred E. Sipe, Flagstaff, Ariz.
Dr. D. S. Swart, Portland, Ore.

113

I HEARD IT WITH MY OWN EYES!

WILLIAM HOWE, ACL

DID YOU ever stop to realize what a complex con-
certo spring really is? Have you ever paused to
listen to the countless sounds that accompany the
Big Thaw? The "Spring Song" is a chorus of literally
thousands of unique noises which somehow blend into
a vivid, exciting orchestration. A novel and revealing
program piece can be made by tracking down the sources
of this vernal reveille with your camera.

The novelty of the film should stem from its appeal to
your auditory imagination. Your aim: to suggest as many
of the characteristic spring sounds as possible with brief
human interest shots. Long before the sound track and
the dual turntable got into the act, movie craftsmen had
learned the many ways of implying sound visually (i.e.,
the closeup of the steamer whistle, the cuckoo clock, the
actor's hand to his mouth to denote a loud call) . See how
many tricks you can play on the eardrums by showing
your film to a group with no accompaniment, indicating
the sounds simply by pictures and subtitles.

Too often the amateur filmer considers his equipment
limitations as liabilities. There need be no such feeling
in making this movie. More likely, the very simplicity of
your tools may give your film a freshness and impact
seldom found in the professional extravaganzas. I need
only cite the artistry of the early Chaplin comedies as
contrasted with some of today's gilded lemons to estab-
lish that point. Movies are still made with imagination
and with imagery; let's see how much noise you can
make with a lens.

Begin your movie with a brief montage of seasonal
nature shots — a blossoming bough, an inquisitive robin,
a wind-curried field. Cut to :

The sounds of spring, like familiar songs, have a way
of recalling pleasant memories.

Follow with a sequence showing a child sitting by a
still pond or pool, tossing pebbles into the
water. Intercut a few shots of the youngster's
throws with frames of the concentric circles
spreading from the stones like sound waves.
Fade to the subtitle:

How many memories do you tie up to the
rustle of a kite . . . ?

You should have no difficulty in getting a
colorful sequence centered around the neigh-
borhood youngsters' efforts to launch their
kites on a brisk spring day. Your telephoto
will come in handy for closeup of the kites
as they climb and dip in midair.

. . . Or the click of marbles in the back
lot . . . ?

Round up the aggie experts in your sector
and let them put on a heated exhibition at the
foot of your tripod. Concentrate on the intent
facial expressions, the tensed, grimy hands
and closeups of the spinning marbles.

You must listen carefully to catch the soft
sibilance of a lawn sprinkler . . .

Set up your sprinkler so that its sprays are
back lighted against dark shrubs or trees. If
you maneuver observingly around it, you
should find the irridescence of a rainbow.

. . . or the reassuring patter of an April shower.

Filming the real McCoy may present a few exposure
problems, but a reasonable amount of skylight will en-
able you to shoot adequate semi-closeups of water splash-
ing from a drainpipe, raindrops dimpling a casual puddle,
or your wife opening an umbrella on the front porch. You
could well fake this sequence by directing the sprinkler
on one of your windows and posing one of the family in
indoor silhouette against the dripping pane. However, in
staging any shenanigan of this kind, be sure that the
drops fall downward not upward.

But you can't miss the clatter of roller skates on
cement . . .

Your youngster or some of the neighborhood gang
breaking in skates for the spring derby will provide a
lively bit of footage. You might cut in a reaction shot of
a harassed, wincing mother looking out with hands
clapped over her ears as the rollers grind down the drive-
way.

Nor will you wish to miss the cheery chimes of the
ice cream wagon.

Show the wagon in long shot with its Pied Piper fol-
lowing of children, then a closeup of the jingling bells.
The possibilities for human interest are unlimited in the
string of moppets who respond to the chimes as faith-
fully as Mohammedans to their muezzin. You can well
afford to treat the tots in return for a gallery of bright
faces smeared liberally with smiles and ice cream.

Certainly the sharp crack of a bat as it lays out a hit
is spring's sweetest music.

A sequence on sandlot baseball will have a strong nos-
talgic appeal, or the Big League boys will give you a
run for your money if you take your telephoto to the
ballpark. Inject a little cacophony into the sandlot shots
by staging the eternal "He's safe [Continued on page 137]

Here, in a spring-filming plan as fresh as Spring,
is a challenge to the imagination of every amateur

THE CtICK OF AGGIES is but one of the countless sounds of Spring which can
be caught pictorially. Both viewpoint and lighting here are well selected.

114

1 ■'*' .'-'■:"■ • '

FRONT LIGHTED ACTION and a background of stately elms made
ting for sequence on Dutch dances. About 25 feet away is good

CALL IT WHAT YOU WILL— festival, pageant,
parade or tableau — filming a public spectacle is
a ringing, and often a widely rewarding, challenge
to any amateur movie maker.

Believe me, I know! For last year, at about this same
time, I was deep in the planning and later the production
of a film on Albany's week-long Tulip Festival. There
were, of course, many rewards from this undertaking —
of which far from the least was the pictures selection by
the ACL as one of the Ten Best Amateur Films of 1950.
There were, as well, an uncounted number of headaches,
all of which I now seem to have survived. Perhaps if I
draw on (not simply recount) my experiences, it may
aid you and you in producing your own festival films.
It's a grand adventure, really.

THE BASIC COMPONENTS

Long before a foot of film is shot, or even your first
plan is plotted, it is truly important to have a clear
understanding of the basic components of a public festival.
They are three in number: (1) the settings; (2) the
actions, and (3) the reactions.

Picture-wise, it may seem that (like death and taxes)
the settings will be always with us. Nothing, you may
say to yourself, can be (or needs to be) done about them.
This, in my experience, is far from the truth. If a setting
is extraordinarily attractive, or significant to the theme
of the spectacle, it should be pointed up. But if, as so
often happens, it is unattractive or distracting, you should
watch for this and, by changing your camera positions,
make every effort to minimize it.

Part 2, the action presented at a pageant, is regarded
by far too many filmers as the only component of im-
portance to the picture. The exhibits, the parade, the
dances and the crowning of a new Queen — these (or
similar scenes) make up the festival. If I picture them
faithfully, I'll have a good picture. Thus goes their rea-
soning.

The sad truth of the matter is that you most surely
will not have a good picture, or even a complete one.
In the first place, because of the extended nature of these
activities, it is impossible for any amateur to film them

an ideal set-
camera spot.

FILMING
A FESTIVAL

HELEN C. WELSH, ACL

all and in their entirety. Your camera runs
down in the darndest places, your film runs
out at ditto crises, and you end up inevitably
with gaps in your stream of action.

Furthermore, the action itself isn't every-
thing in film-telling the story of a festival.
Reaction is equally important, both as a true
part of the picture and as a lifesaving bridge
over the inevitable gaps in the continuity.
Look at it this way. Suppose, for a moment,
that an elaborate tableau was presented with-
out any audience, a parade without any people crowding
the sidelines. Impossible, isn't it! The color and drama
of any such spectacle would vanish in the empty air.
The living reactions of the audience are integral with the
action — both on the street and on your screen.

So, as you approach the production of your picture,
keep the three basic components in mind: setting, action
and reaction.

ADVANCE PLANNING
Also before the festival itself, there is much to be
done to prepare for filming it. Collect the press notices
in a loose-leaf notebook, one item to a page. The loose-
leaf feature will make it easy to assemble all the data on
individual events when plans for the story begin to take
shape. Announcements of committee chairmen usually
appear first. Newspaper publicity for the Albany Tulip
Festival was an excellent guide, both in filming the events
and in preparing the narration for the finished film. If
possible, contact the general festival chairman or the
Chamber of Commerce of your community. Both these
sources will furnish information unobtainable elsewhere.
Knowing that you are seriously interested in filming the
affair, the chairman will be more inclined to give you
access to choice camera positions. And there is no such
thing as too much "official" cooperation.

CONDITIONS MAY CHANGE
As you collect and coordinate this advance information,
your film plan will begin to take shape and you can check
specifically over the ground, noting particularly the good
camera positions. You'll be surprised at your lack of
knowledge of your own community once you begin to
look at it with a movie maker's eye! Sometimes, in spite
of securing information in advance, the events do not
work out according to plan. This was forcibly brought
home to those of us who filmed the Tulip Festival last
year.

Two events were scheduled for the parade ground of
the park. On Sunday, the Albany Folk Dancers performed
a group of native dances. For photographers, the situation
was perfect. There was full front lighting on the dancers.

From Memorial Day to the Mardi Gras, picturing a pageant is

based on similar principles. A Ten Best winner tells you how

115

A DOWN ANGLE on your offspring against a background of tulips
can be staged as a reaction shot before or after the festival.

a background of stately elms, an enthusiastic audience
and a place for movie makers to set up their tripods about
twenty five feet from the front row of the costumed
dancers. The following Saturday, although the same
location was used, the stage was completely turned around
by a committee that gave no thought to photographers
— even their own! The coronation scene, the high point
of the festival, was squarely back lighted: good exposure
depended upon a reliable light meter and a place on the
north side of the Green where overhanging tree branches
helped screen out the direct rays of the sun from the lens.

ADVANCE TECHNICAL PREPARATIONS
Technical preparations should begin with a decision con-
cerning lens requirements. For most outdoor ceremonials
the standard lens and at least one telephoto (around
2% to 3x magnification) are needed, the latter to facili-
tate the change of viewpoint necessary to good sequencing.
Then, if a long focus lens is to be used, a tripod is man-
datory. Besides the six sound reasons for using one (see
Movie Makers for October. 1950). it seems that the
three-legged support carries with it an '"open sesame"
at an outdoor fete. To guards and ticket takers, the tripod
indicates a seriousness of purpose which silently opens
the way for a front row place often denied the hand-
holding camera amateur. Also you will find that the
tripod keeps the crowd somewhat at bay, for most people
have a healthy respect for those three sharp-pronged legs
your camera is resting on.

As a last bit of caution, let me recommend a light
meter in good working order. In a park or on a campus
where light and shade are often sharply contrasted, or
on an open parade ground under strong sunlight, a light
meter is a necessary part of the filmer's equipment.
Remember, too, that some of the events may extend late
into the afternoon, and, as the light begins to taper off.
frequent consultation of the meter is again wise.

AT LAST ON LOCATION
The chief difference between most civic festivals and
the pageant or tableau on a college campus is one of
duration. The day on which the Daisy Chain brings a
thrill to Vassar. Rose Day at an Albany college, or the
famous Hoop Rolling at Wellesley are illustrative of
one-day celebrations. Many communities also have film-
worthy events on Memorial Day [Continued on page 130]

CLOSEUPS OF THE QUEEN during the climactic pageantry are best
made with a telephoto from decent distance. Shot below is with
normal lens from same position, giving greater depth of field.

FIGURES IN FOREGROUND and a frame of branches create an
ideal setting for parade which will come to camera from left rear.
Such positions should be selected well in advance of action.

116

HINTS ON DUAL TURNTABLES

With ingenuity and know-how, this amateur assembled dual turntables for less than $15

JACK E. GIECK, ACL

ARE you considering dual turntables as the means
i of adding sound to your movies — either directly
or via magnetic re-recording? Well, if you decide
to build your own outfit, you can incorporate a number
of features which are not regularly available to amateurs
in commercial dual turntable models. And with consider-
able saving on the pocketbook. For example, the outfit
pictured here cost me less than $15. To be sure, it does
not provide its own amplifier and speaker; and I must
admit it required a little bargain hunting. But it plays!
Let's concentrate on the design first. Then we will add a
few tips on how to be frugal without sacrificing quality-
such as playing the disc sound through a radio or your
sound projector. But we'll come to that later.

TWO-WAY PICKUPS

As for the turntables themselves, the handiest feature
of the design here presented is one which has been used
in radio studios for many years — the ability of either
pickup to be played on either table, or of both of them

COMPACTLY HOUSED, author's turntables feature two-way tone arms,
light and projector controls, jack to radio amplifier and speaker.

HOUSE LIGHT LINE, feeding from opposite end of unit, is seen above.
Two-way tone arms aid in spacing music, doubling up sound effects.

to play on the same turntable, as shown in Fig. 1. The
latter facility is especially useful in stretching or cutting
the length of a musical selection to synchronize its final
phrases with the end title of a film.

Fig. 1 illustrates how this trick is accomplished. The
geometry of mounting any pickup, or tone arm, is simple;
the pivot point must be so located that the arc described
by the phonograph needle passes through the center of the
turntable spindle. For double action, the tone arms and
turntables must thus be mounted in such a way that the
arc described by each pickup will pass through both turn-
table centers.

PLACING TONE ARMS

The easiest procedure in carrying out these require-
ments is as follows. Lay out the turntables so that the
largest records you will use (usually 12 inch) will clear
each other easily (a 1 inch clearance is suggested). Then,
with a compass set for a radius equal to the length of the
tone arm (denoted in Figs. 1 and 2 as the length "L"),
and using the centers of the turntable spindles as com-
pass centers, describe the arcs which will intersect at the
exact points where the tone arm pivots should be lo-
cated (see Fig. 2). If you do not have a large enough
compass, the following alternate method may be used.
Place a piece of soft pencil graphite in the needle holder
of an unmounted pickup, and, placing the pivot over each
of the turntable spindles, describe the aforementioned
arcs. A pair of pencils joined by a piece of string may
also be used.

If you use plywood as a base for your turntable chassis
(as illustrated), we recommend the use of some type of
resilient mountings to damp the vibrations of the turn-
table motors; otherwise, these vibrations will be con-
ducted into the wood, with the latter amplifying them like
a sounding board. Shear-type rubber instrument mount-
ings (such as those vended by the Lord Manufacturing
Company, but often available through war surplus stores)
are excellent for this purpose.

THE WIRING CIRCUITS

The electrical wiring of the author's turntables actually
involves three separate and unrelated circuits, as illus-
trated in Fig. 3. The electronic or sound circuit, shown
at the top of the figure, permits mixing or blending the
sound from the two pickups. This is useful not only in
achieving smooth musical changeovers, but opens a new
avenue of sound possibilities; if you purchase a library
of sound effect records, these can be blended with back-
ground music, or with each other, thus adding to the
realism of your movies.

The 110 volt circuits are shown in the lower portion of
Fig. 3. Frankly, the switches controlling the projector and
house lights were added to my rig as an afterthought,
when I found that both my hands were well occupied
synchronizing and changing records, with little time left
over for the normal projection duties. Placing these
switches within finger reach made for a much smoother
performance.

1 17

1/MEG-OHM RESISTORS,

O PHONO
JACK

1^ MEG- OHM POTENTIOMETERS

FIG. 1: Diagram above shows how a pair of pickups should be
mounted so that each plays on both turntables or both on one.

©I

PROJECTOR
PLUG

PHONO
MOTORS

HOUSE
LIGHTS

S.PS.T SWITCHES

FIG. 3: Wiring circuits of author's turntables are plotted above. Upper dia-
gram shows sound circuit, the lower the hookup of motors, lights, projector.

FIG. 2: Pickup pivot points are found by describing compass
arcs from table centers. Intersections mark mounting points.

PROJECTOR CONTROLS
Plugging your house lights into the outlet provided will,
of course, be obvious: but your projector will have to be
modified slightly to be controlled by the switches located
on the turntables. For the outlet and plug to attach the
projector control circuit. I used the conventional 3 prong
electrical convenience fittings normally employed for
electric stoves. I first drilled a V± inch hole in the base
of my projector to admit the rubber-covered 3-wire cord:
the common "hot" wire, going to both the projector mo-
tor and lamp switches, was located and one lead of the
cable was attached at this point. The other two cable
leads are soldered, respectively, to the other (motor and
lamp) sides of the projector switches. This arrangement
puts the projector control switches located on the turn-
tables in series with the switches on the projector, so
that either set of switches will operate the machine. Thus.
you can still use the projector without the turntables.

THE RADIO HOOKUP

[Hooking up your turntables to play through the radio
is not difficult. If your radio is equipped with a jack to
receive a phonograph plug, your problem will be some-
what simplified; but a radio serviceman can easily install
such a jack if your set lacks one, or perhaps a "ham"
friend of yours can show you where to tap into the first
amplifier stage.

If you have a combination phono-radio, it is a very
easy matter to locate where the leads from the phono-
graph pickup are hooked into the chassis and to wire a
jack in parallel. But, if you do so, you must prevent the
phonograph from cutting out your turntables by any of
the following methods: (1) putting a switch in series
with the phonograph pickup: (2) splicing a x/2 meg-ohm
resistor in series with same; (3) cutting the phonograph

leads loose and attaching a plug to their ends, so that
either the phonograph or the turntables may be plugged
in. or (4) obtaining a special "make-one-and-break-one"
jack which will automatically disconnect the phonograph
when your dual turntables are plugged in.

With the amplifier and speaker end of your sound sys-
tem thus prepared, it is a relatively simple matter to hook
it up to the turntables. For this purpose you will want a
length of inexpensive shielded phono-pickup cable, a little
longer than the maximum throw from your projector to
screen. This thin cable is surrounded by a knitted copper
sheath ( which forms one side — the grounded side — of the
circuit ) which is useful in preventing stray interference
(such as the '"buzz" from a fluorescent lamp) from being
picked up and amplified through your sound system.

Attach a plug to each end of this cable, one to fit the
jack on the radio and the other the turntable jack. Wind-
ing the cable around a small projection reel, of the type
on which film is returned from processing, will prevent
tangling and facilitate setting up your equipment.

SAVINGS ARE SIMPLE

Now for a few economy hints. I began by picking up
two turntables with motors included at SI. 50 each. These
were purchased from a "surplus" house and were actually
factory rejects which did not run at the prescribed 78
revolutions per minute. With the aid of a fifteen cent
stroboscopic disc and a neon lamp, it was determined
that one of the turntables operated about 72 r.p.m. and
the other at about 84 r.p.m.

The fast table was slowed by correcting the gear ratio
of the friction driving gears. This was done easily by re-
ducing the diameter of the motor shaft's metal driving
spindle which turns the rubber-tired idler, which, in turn,
drives the rim of the turntable. The simplest method of
accomplishing this was to run the motor with the turn-
table removed, holding a piece of coarse emery cloth
against the driving spindle.

The slow table was brought up to speed by thoroughly
lubricating all working parts [Continued on page 131]

118

NEW ZEALAND REPORTING!

Short of cameras and still shorter of film, New Zealand's amateurs

are still active, enthusiastic — and full of hope for the future

IAN POLLARD, ACL, Otago Cine Photographic Club, Dunedin

AMATEUR filming in New Zealand is regarded by
many non-filmers as a luxury, only to be indulged
in by those with large incomes. This impression
has been created by the greatly increased prices of ap-
paratus and film, caused. mainly by the distance which
New Zealand is from the chief movie manufacturing
countries — England and the United States. For, the
greater the distance, the proportionately higher are the
transportation costs.

EQUIPMENT STILL SCARCE

Also, during the war, there was no cine equipment
and precious little film available, so that ACL members
will realize that nearly all filmers in New Zealand today
are using prewar cameras. Within recent months, a few
English-made machines have appeared on the market,
but they were soon snapped up at a sum greatly in excess
of the list price. My own camera, for example, cost me
just over four times the price the original owner paid.

Exposure meters of an infinite variety have been avail-
able for some time, ranging from the Weston Master II
cine meter, down to the smaller extinction types. Most
movie makers here own a meter and make good use of it:
but a curious fact is that the manufacturers' given film
speeds have to be halved for the Weston instrument;
Daylight Kodachrome, for instance, runs at Weston 4.
One explanation is that the raw film loses speed during
its journey through the tropics to New Zealand, even
though it is tropically packed. If any ACL member can
suggest a solution, no doubt the editor will publish it.

Eighty percent of filmers in New Zealand do not possess
a tripod, and of those who do, perhaps only a quarter
of them use it consistently. One movie maker (guess
who?) bought a tripod three years ago, when he first
acquired a camera, and he has used it to shoot about
two reels of film. For some users, tripods are regarded
as a nuisance. With others, because of the comparatively
few movie cameras seen, the owner feels that enough
attention is attracted by the camera, let alone the tripod.

PRICES ARE HIGH
Nearly all camera owners here were able to purchase
a new projector some time ago when, before the dollar
shortage. American-made models were readily available.
To compare prices: my projector was advertised at
$75.00, but cost me 42 New Zealand pounds — or, at the
then rate of exchange, about $250.00! A reel of film
costing $6.50 costs £4.15.0 in New Zealand — or, at the
current exchange rate, $14.00. English projectors are
now finding their way to the market and they give a good
and reliable service; but nearly all makes use a compara-
tively low powered lamp. As the line current is rated at
230 — 240 volts, a cumbersome and heavy transformer
must be used, if the projector has no built-in resistance.

FILM SUPPLIES: ONE ROLL SEMI-ANNUALLY
Supplies of film have been so scarce that it is a day of
rejoicing when a reel of color film, particularly 8mm.,

is available. I have not once seen a reel of Type A Koda-
chrome in the 8mm. size; and, to put an end to the
matter, no conversion filters have been sold in the shops
for many years. In the six months just past I have bought
one reel of color film, in spite of a biweekly visit to the
local dealer. This was my allocation from a small ship-
ment of French-made Kodachrome. This reel, along with
two reels of English-made color film sent by a generous
friend in England, is being carefully hoarded for my
holiday. It is interesting to note that English color film,
processed in Melbourne, Australia, gives a delightful pastel
rendition, while U. S. stocks give a crisp sparkling image.
What the French film is like remains to be seen. We con-
sider ourselves fortunate if color
film is returned from being proc-
essed in less than five to six weeks.
Monochrome film is processed in
Wellington, with a really fast serv-
ice of seven or eight days.

Very few filmers here add sound
to their films either on disc, tape
or wire. Once again the cost is the prohibiting factor.
The most common way is to play records through a radio-
gramaphone and hope that they suit the film as to mood,
timing and tempo.

NATURAL SETTINGS ATTRACTIVE
But enough of the "case against." New Zealand is
fortunate in having compressed into its small area every
tourist attraction that is to be found in any other part
of the world. From Dunedin, it is a short three hour
flight over the Southern Alps to the Fox and Franz Joseph
Glaciers on the west coast of the South Island, a two
hour flight to the majestic Milford Sound on the south-
west coast, or a six hour flight to Rotorua, the thermal
wonderland of this country. Here, geysers, boiling water-
falls and boiling mud pools of every color may be found
in abundance.

The atmosphere in New Zealand helps the movie maker,
particularly in Central Otago, which is renowned for its
clear, dry air. As a result, exceptionally good definition
can be obtained, even with 8mm. film. Perhaps the chief
favorable factor is the absence here of any really large
manufacturing cities which spread their soot and grime
for many miles.

PERSONAL FILMS PREFERENCE
The choice of subject matter is no different in New
Zealand than in other countries. Family films, news events,
vacation-scenic films and documentary records are, in
that order, the most popular. And I venture that if a
census were taken in, say, ten other countries, the result
would be much the same. My own holiday films do not
show the popular resorts, as I like to climb and explore
in the unmapped and unknown southwest corner of the
South Island. My movie camera has its allotted position
in my pack, and my ice axe makes a very useful stand
when filming at a high altitude. [Continued on page 129]

119

The Fine Frames pictured on this page are reproduced
directly from the movies of our readers

FINE FOREGROUND graces a long
shot from Letter from Florida, by
E. G. Dittmer, from Lincoln, Neb.

A BRISK ANGLE brightens this
churchly closeup from Le Miracle
de Sainte Anne, by George H.
Kirstein, of The Bronx, N. Y. C.

CORNER TO CORNER is the
pleasant pattern of this closeup
by Bert Seckendorf, ACL, of
Brooklyn, for his film Memory
Lane.

A REFLECTOR lightened shadows
in this closeup for Maid to Order,
shot by Leo Caloia, of Los Angeles.

EVERY READER of Movie Makers is cordially invited to submit
selected frames for reproduction here. For those accepted, Movie Makers
will present each producer with a complimentary copy of "his" issue and
the enlarged negative from which his frame is printed.

SUBMISSIONS may be made on either 8mm. or 16mm. film, in strips
of 10 frames or more of Eight, 5 frames or more of Sixteen. Please accom-
pany each entry with your name and the name of the picture from which it
comes. For best results, readers are advised to concentrate on relatively
close shots with a medium range of contrast.

ADDRESS YOUR ENTRIES to Fine Frames Page, Movie Makers,
420 Lexington Avenue, New York 17, N. Y.

CAMERA POSITION creates per-
spective in this shot from Plymouth,
by Oscar Horovitz, ACL, of Boston.

SEMI-SILHOUETTE suggests menace
in this well lighted two-shot cre-
ated for The Voice of the Key, by
C. J. Carbonaro, FACL, of Norfolk.

120

SEQUENCING
SEQUO!

FELIX ZELENKA

LESS than a century ago. Hale Tharp, as a reward for
his friendship, was led by Indians into what is now
Sequoia National Park — there to behold one of the
great natural wonders of all time. Today, this treasure
chest of arboreal splendor has been made easily acces-
sible to the world at large. Adjoining one another, Se-
quoia National Park and Kings Canyon National Park,
often called The Twins, contain 1300 square miles of
primeval magnificence, set aside by the Park Service and
administered as one unit.

FIRST TO SEQUOIA

Railroads, stage services and United Air Lines are
routed to both parks, from Los Angeles or San Francisco.
The year-round beauty that borders the Generals High-
way, the area s main artery, is, of course, most enjoyable
when motoring in your own car. Only thus will the movie
maker find the opportunity to halt his upward journey
at points of interest for filming at his own convenience.

Entering the park at Ash Mountain gate, the Indian-
head sign, representing Chief Sequoyan, makes a pic-
turesque main title background for your filming adven-
tures to follow. A short distance beyond this boundary
marker is a ranger checking station. Here a dollar entry
fee is paid and you might film the ceremony as an intro-
duction to your reel.

Two and a half miles later is Tunnel Rock, a huge slab
of granite that forms a bridge over the road. The filmer
should not overlook the possibilities of a scene or two
here as the car travels through this arch.

THE KINGS RIVER, a torrent of white water tumbling through a
rocky gorge of Kings Canyon Park, is flanked by the highway.

TAME BUT TOUCHY, says the author, are the mule deer wander-
ing through Giant Forest Village in search of a daily handout.

HOSPITAL ROCK CAMP
Some three miles later is scenic Hospital Rock. Here
a public campground and another ranger station are lo-
cated. The white water of the middle fork of the Kaweah
River rushes past this favorite retreat of the fishing
sportsman, where once a large Indian village was lo-
cated. Of interest is the huge boulder used as a house by
Chief Chappo of the Kaweah tribe of Yokut Indians. In
later years, as a shelter for injured pioneers, this char-
coal-blackened refuge became known as Hospital Rock. A
footpath to the river and bridge affords many attractive
picture possibilities.

GIANT FOREST VILLAGE

Approximately fourteen miles from the Indian-head
marker you arrive at the western extremity of the Se-
quoia belt of big trees. Two and a half miles later, at an
elevation of 6,412 feet above sea level, is the Giant For-
est Village. Located here are a ranger information sta-
tion, a service station, coffee shop, store, cabins and
housekeeping cottages at Camp Kaweah. During the busy
season of the summer months reservations should be
made in advance to avoid possible disappointment. Less
than a mile straight ahead is the Giant Forest Lodge with
American and European plan accommodations in cabins
or tent bungalows.

WHAT TO FILM

Perhaps one of the most appealing sequences of your
Sequoia shooting will be on feeding the tame mule deer
which wander throughout the camp. Though these ani-
mals are generally considered meek and shy, the older
bucks, who make a daily habit of begging for a handout,
can be surprisingly nasty when annoyed. Avoid teasing or
molesting them in any way, and they will supply you
with an abundance of exciting footage.

Shelled peanuts are an attractive delicacy for the
bushy, brown-striped chipmunk and the gray squirrel.
With patience and a supply of this tasty delight, it is a
simple matter to obtain scenes of these nervous creatures
daintily feeding out of your hand.

Home of the Big Trees, oldest of Earth's
living things, Sequoia National Park
is a challenge to every cameraman

121

MORO ROCK AND CRESCENT MEADOW

The Moro Rock and Crescent Meadow road is an easily
traveled route with no steep grades. Winding through
the heart of the Sequoia belt, it ends at the parking area
near the Crescent Meadow.

Less than a mile from Giant Forest Village the road
passes Auto Log. a huge fallen monarch so large that an
auto may drive onto it. At Hanging Rock, about two
miles from the village, a trail leads 200 yards from the
road to a boulder poised precipitously on the edge of a
1000 foot drop. This is Moro Rock, one of the great
monoliths of the Sierra Nevada.

The quarter mile climb to its summit is recommended
for a score of dramatic compositions. Steps and a trail
cut into the very granite of Moro rise 300 feet to the top
at an elevation of 6,719 feet. Several benches along the
walk offer excellent views while you catch your breath.

Tunnel Log, two and a half miles from the village, is
a giant Sequoia, 275 feet long, that fell across the road in
1937. A tunnel eight feet high and seventeen feet wide
has been cut into the log so that the road continues be-
neath it. Film a sequence as one of your party stands
atop the giant log and your car passes through. Trails
from Crescent Meadow lead to Tharp's Log where once
this pioneer made his home in a fire-hollowed and fallen
big tree. Still another trail joins Crescent Meadow with
the start of the High Sierra trail to Hamilton Lake and
Mount Whitney, a saddle trip of great beauty.

GIANT FOREST VlttAGE, hub of activity in Sequoia National Park, is
fourteen miles from Indian-head sign (up left) at Ash Mountain Gate.

THE GENERAL SHERMAN TREE
Following the Generals Highway again, at a distance
of about two miles from the village is the General Sher-
man Tree, largest of the Se- [Continued on page 131]

THE TUNNEL LOG, a fallen 275 foot giant, straddles the park highway
to create an interesting sequence of your car driving through arch.

AN ANCIENT ACCIDENT left Tunnel Rock spanning Sequoia's
highway like a modern sculpture. The site is IVi miles from gate.

HUMBLED BY HISTORY, the Fallen Monarch in General Grant Grove has
been a timberman's cabin, a saloon and a stable for U. S. cavalry.

APRIL 1951

Talking

about

Movies

It's the Camera that
makes the difference

in your 8mm films!

•

The same film, filters, types of
lenses, lighting techniques, etc.
used by 16mm fans, are available to
you. And for the main item in any
movie-maker's kit . . . the camera
. . . try any one of these fine 8mm
Bell & Howell Cameras. You'll find
them full-fledged brothers of the
famous Bell & Howell "16's"!

For instance, take the Sportster . . .

... it has an extra fine Filmocoted x/2-inch
f/2.5 lens. The rotary disc shutter gives max-
imum, and uniform exposure. Five speeds are
governor controlled for entire length of film
run. Has built-in exposure guide, accurate
film footage indicator, quick-change lens
mount and simple "drop-in" film loading. Yes,
it's every inch a Bell & Howell for $109.95.

Or the easy-to-use 172-B . . .

. . . features convenient magazine loading. It
also has 5 operating speeds (including true
slow motion), positive type viewfmder, single
frame release, exposure guide, film footage
indicator. That's a real camera ! With Vk-inch
f/2.5 Filmocoted lens, $139.95.

But the man who owns the Auto- 8 . . .

. . . has all the advantages of the 172-B camera,
plus the versatility offered by instant lens
change. The quick-turn 2-lens turret has lens-
matching positive type viewfinders and a
critical focuser. With this camera there's no
excuse for anything "getting away" . . . with
right lenses you're ready for anything. With
y2-inch f/2.5 Filmocoted lens only, $169.95.

And for even greater versatility
the Tri-Lens Eight . . .

. . . gives you a choice of three lenses instantly
available. The Tri-Lens Eight has the same
advantages offered by the Sportster plus:
• Three-lens turret accommodating lens-
matching viewfinders
• Critical focuser

Price . . . you'll be surprised! With y2-inch
f/2.5 Filmocoted lens only, $149.95.

A word about 8mm lenses

0.5-inch f/1 .4 Taylor Hobson Cooke

$144.95

1 -inch f/1 .9 B&H Super Comat $89.95

1 .5-inch f/3.5 Comat $64.95

Three-power magnification for medium dis-
tance shots.

. . . they can make or break your films

For it's not just enough that the lens passes
a certain amount of light to the film. The
quality of that light is important. The lens
must transmit the image clearly and keep
it clear right to the edges of the film. When
a lens does that, you notice the result on
the screen. You get the color contrasts the
way they were, your pictures are bright
and clearly defined on every part of the
screen! Bell & Howell lenses are designed
to do this for your movies !

Prices subject to change witliout notice

Guaranteed for life.

During life of the
product, any defects
in workmanship or
material will be rem-
edied free (except
transportation).

uy for life
n you buy

Bella Howell

MORE ABOUT LENSES

(tear out and send today)
Bell & Howell Company
7143 McCormick Road, Chicago 45

Please send me your free "tips" booklet on
selection and use of lenses.

Name __.

Addr

City

123

Zone State-

124

Clini

LINE VOLTAGE LOSS

Here's another tip to add to my
February item on using relatively
new flood bulbs to be sure of accurate
color values during indoor filming.

Another source of color tempera-
ture trouble may be a drop in line
voltage, which will be especially, no-
ticeable if your lamp line is plugged
into a house circuit on which other
of your electrical facilities are draw-
ing. Therefore, for those filmers
blessed with an electric stove, I sug-
gest plugging the main lamp line into
the service outlet socket on the stove.
Connected to your fuse box with spe-
cial heavy wire, this circuit offers a
minimum of voltage loss.

Herbert A. MacDonough, ACL
Binghamton, N. Y.

Could be; but our impression is that
the major advantage of this arrangement
would be a marked increase in the number
of flood lamps which could be carried
safely on the one outlet.

With the standard wall outlet (fused at
15 amperes), the safe limits are 4 of the
375 watt medium beam lamps or 3 of the
No. 2 photofloods. Plugging through the
heavy line of the stove (which is fused
at from 30 to 40 amps.) would raise these
safe limits to at least 9 of the 375's or
7 of the No. 2's.

As for changes in color temperature
created by line voltage drops, Eastman
Kodak states in their booklet, Filter Data
for Kodak Color Films, as follows: "The
color temperature of a tungsten filament
lamp designed for operation at 115 volts
increases (changes) about 10° K for each
increase (or decrease) of 1 volt. Variations
of less than 100° K ordinarily do not pro-
duce a serious change in color rendering."

45 RPM DUAL TURNTABLES

I thought some of our readers
might be interested in a double turn-
table outfit I have assembled for
playing 45 rpm records. It consists of
two of the standard RCA-Victor au-
tomatic record changers ($12.95

each) set in a fibre case and con-
nected in the usual manner through
individual volume controls. However,
plug receptacles are provided so that
the record players may be removed
at any time for other uses.

These record changers are handy
inasmuch as the program can be lined
up ahead of time and successive rec-
ords played on the turntable merely
by pressing the release button.

Lester F. Shaal, ACL
Providence, R. I.

AMONG THE USEFUL camera ac-
cessories, a tripod and exposure meter will
be found near the top of the lists of most
serious amateurs.

SHUTTER SPEEDS VARY

Mr. Roland Beach, of Rochester.
N. Y., had a very interesting sugges-
tion in The Clinic for February con-
cerning the use of a continuous shut-
ter speed adjustment (instead of dia-
phragm changes) in filming sunsets.

While, as he says, the Bolex H cam-
eras have this valuable feature of con-
tinuous shutter speed adjustment, be-
fore we use this arrangement for in-
creasing or decreasing exposure we
must decide whether the camera is to
be used in normal continuous run or
at single frame. The reason for this
is that the shutter speeds obtained in
the two operations are different, as
will be seen in the following table:

H-8 and H-16 SHUTTER SPEEDS
in CONTINUOUS-RUN MOVIES

1/20 second
1/30
1 /45
1/60
1/120 "

at a speed of 8 fps

" " " " 16 "
" " " " 24 "
" " " " 32 "
" " " " 64 "

TWIN RCA 45's, hooked up in a single case,
create dual turntables for your LP records.

However, for pictures shot using
the single frame device, the exposure
times cannot be estimated according
to this table. For the H-16 camera
and with the continuous-run speed
dial set at 8 fps, the actual exposure
will be 1/20 of a second. With the
speed dial set at all other continuous
speeds, the single frame exposure
time will be 1/25 of a second. For the
H-8 camera, under exactly similar
conditions, these single frame ex-
posures become 1/18 and 1/20 of a
second.

While changing the shutter speed
to change the exposure is all right
when the camera is used in continu-

ous run, the same effect in making
single frame exposures can be ob-
tained only by changing the dia-
phragm of the lens.

Ernst Wildi, ACL
Manager
Technical Department
Paillard Products, Inc.
New York City

LONG LIFE LAMPS

In connection with your February
Clinic item called New Lamps, Best
Color, about three years ago I began
to be concerned over the expense and
inconvenience of the standard photo-
flood bulbs "blackening out" so
quickly.

As an experiment I purchased two
500 watt 3200° Kelvin tungsten bulbs
manufactured by General Electric
primarily for professional color pho-
tography. I have used these same two
bulbs continuously since then, with
no apparent drop in their color tem-
perature nor loss in brilliance.
Further, I never could see any dif-
ference in their color rendition and
that created by the photofloods.

Homer E. Carrico, ACL
Dallas, Texas

The GE lamp referred to by member
Carrico is the PS-25 in the 3200° K line;
designed for use on a 115 volt circuit, it
has the standard medium screw base and a
rated life of 60 hours. The approximate list
price is $.70 each without tax.

However, as its name indicates, the lamp
gives off light rated at 3200° Kelvin in the
color temperature scale. As such, it is
ideally suitable (for use without a filter)
only with such emulsions as 16mm. Ansco
Color Tungsten Type, 16mm. Kodachrome
Type B (for professional use only), and
Kodak's Ektachrome Type B sheet film.

Used with Kodachrome Type A film —
which is color balanced at approximately
3400° K to suit photoflood light— the 3200°
K lamp will produce accurate color only
with a Wratten 82-A filter on the lens.
Ansco Color Tungsten Type, on the other
hand, when used under the 3400° K light
of photofloods, is at its best with Ansco's
UV-15 filter.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

125

TALKING OF THE TEN BEST

In which three points of importance in the contest's judging are discussed and analyzed

JAMES W. MOORE, ACL

"^NTD you know," our visitor remarked, "that the

\m League is being charged around the clubs with
favoring record films over those with a story?
In the Ten Best contest, that is."

We didn't know it, and the report surprised and a
little shocked us. Our visitor had been a member and
friend of ACL for years. He was a good movie maker,
especially of story films, and an active member of two
strong movie clubs in New York City. So we had con-
fidence in his judgment. We knew he would not pass on
such a report unless he felt it was important.

"Do you believe that's true?" we asked him. "Do
you believe that we favor record films and hold story
films in disfavor?"

"No," he said. "No, / don't. But that's what some of
the boys are saying around the clubs . . . Maybe you
ought to do something about it."

We thanked him and said we'd keep it in mind.
Perhaps a -month passed then before we received the
letter. It came from another member and friend of the
League, also a competent story filmer and also an active
member of a couple of movie clubs. But this time the
locale was in the midwest, Kansas City to be exact.
He wrote in part:

"Somehow, recently, I got started looking over your
Ten Best selections for the past few years, and what I
think I see there worries me. After some discussion with
different fellows in the clubs, I feel that somewhere along
the line you guys are 'missing the boat' on what consti-
tutes a movie. I'm afraid you're putting emphasis on
record filming and overlooking creative efforts entirely.

"What convinces me of this are some of the past win-
ners you have chosen for honors, such as a masterful
job of recording a volcano, a slow motion recording
gem, a single frame recording effort and now a beautiful
job of extreme closeups of birds . . . Recording efforts,
all of them!

"Maybe you are right and I am wrong. But to me,
creative filming — in which I can be made to see and
feel sorrow, happiness, fear or laughter — is the true
medium for the future of amateur movies. As far as you
honestly can, the ACL should encourage such creative
filming — instead of record films — with its Ten Best
awards."

Well! Here, in slightly different words, was the same
charge concerning the Ten Best that we had heard a
month earlier. To wit: the ACL, in its Ten Best contest
awards, favored the record film and held in disfavor a
story (or creative) film. We knew in our hearts that
this wasn't so; we felt sure that the contest figures
would disprove the charge; and we decided then and
there to "do something about it." For, besides this
record-versus-story controversy, there had been over the
years a couple of other misunderstandings concerning
the Ten Best contest judging. It seemed about time to
get them all out for an airing.

On the record-versus-story problem, we felt sure that
there was a very simple answer. So simple, in fact, that
it was apparently and largely overlooked in any dis-
cussion of the matter. This answer goes as follows:

The ACL, in conducting the Ten Best contest, invites
amateurs everywhere — domestic or overseas, 8mm. or
16mm.. members or non-members of the League — to
enter the competition. As such, the contest film entries
should represent a reasonable cross-section of the sub-
ject matter treatment favored by a majority of amateur
filmers. If it should happen that the majority of amateurs
favored the record film treatment, it was then reasonable
to expect that the majority of contest entries would be
of that type. And, in turn, if the .majority of entries
were of that type, it was again reasonable (not to say
inevitable) that the majority of films honored would be
record films.

There was the answer. But it was an answer based
on a supposition and arrived at through logic, a method
of reasoning which rarely convinces anyone emotionally
opposed to the conclusions drawn. It would be far better,
we knew, to get down to the facts and figures. These
things people understood and, for the most part, be-
lieved in.

And so we got down to the facts and figures, and they
are presented herewith. What we did was to take our
film records (which are extensive and accurate) for the
past five years of ACL activity. From these card files
we first computed (by percentages) the ratio of record
films to story films in all of the pictures seen in each
year's contest. Referring then to our annual contest
awards, we computed the same ratio among the films
honored. The detailed results will be seen in the table
on this page. But it may be instructive to highlight here
some of the facts which these figures reveal.

(1) As we suspected — and as anyone should suspect
who is experienced and informed concerning amateur
movies — by far the majority of amateurs do make record
films. This has been evident year after year in the
League's work. Over the five years sampled, for example,
the ratio of record to story films among all films seen
by ACL stands at 83% record, 17% story. Under these
circumstances, it is obviously inevitable that, in the Ten
Best awards, more record subjects will be honored than
will the story type.

(2) However, as we also suspected, nowhere near the
same ratio of record-to-story is maintained among the
films honored by the ACL. This again is consistently
true year after year — and sometimes strikingly so. The
average for the five years stands at 62% record films
honored (as opposed to 83% [Continued on page 137]

ALL FILMS SEEN

FILMS HONORED

YEAR

RECORD

STORY

RECORD

STORY

1946
1947
1948
1949
1950
AVERAGE

75%

25%

9
16
15
18
17

68%

32%

126

WILL THEY FIT
MY CAMERA?

ROBERT T. KREIMAN,

Manager Personal Equipment Dept., Bell & Howell

BROADLY speaking. Bell & Howell's answer to the big
question at the head of this article is a simple one.
It comes in two parts:
(1) All Bell & Howell and Taylor Taylor Hobson
("Cooke") lenses made for 16mm. cameras have stand-
ard C mounts. This means that they can be used without
an adapter on all 16mm. cameras save those manufac-
tured by the Eastman Kodak Company. They cannot be
adapted for use on the Eastman cameras. (2) All B&H
and TTH 8mm. camera lenses are mounted for use on
Bell & Howell cameras only. They cannot be adapted for
use on 8mm. cameras of any other make. . . . End of
answer.

This, surely, simplifies the problem to its barest essen-
tials— perhaps too much so. For there are a number of
other aspects on which the amateur should be informed

W^j^.i-.

MEASURING from 0.7 of an inch to 4 inches in focal length, the five
lenses above offer T-stop calibrations and uniform step magnification.

in making an intelligent accessory-lens selection. (We
are assuming that you already have on your camera a.
lens of standard focal length; what you're interested in
now is, say, the addition of a wide angle or a telephotOj.
or both.)

THE LENSES AVAILABLE
To begin with, you will want to know what lenses
I what speeds and what focal lengths) there are to choose
from. Here at Bell & Howell the choice is a broad one,
being comprised of lenses manufactured by our own
company and those ground by our well known British
associate firm, Taylor Taylor Hobson, makers of the
famous Cooke objectives. Fig. 1 presents a table of all
such lenses, together with the cameras on which they
may be used.

B&H and TTH Lenses for 16mm. Cameras — All Filmocoted

Fit directly, without adapters, on:

0.7" f/2.5 B&H Super Comat Foe. Lit.
1" f/2.5 B&H Comat Univ. Foe.
1" f/1.9 B&H Super Comat Foe. Mt.
1" f/1.4 TTH Ivotal " »
2" f/3.5 B&H Telate » "
2" f/3-5 TTH Kinic " »
2" f/1.4 TTH Ivotal "
3" f/4 B&H Telate "
3" f/4 TTH Telekinic
4" f/4.5 B&H Telate " "
4" f/4-5 TTH Telekinic " "
6" f/4.5 B&H Telate " »
6" f/4.5 TTH Telekinic "

B&H and TTH T-Stop Calibrated Lenses for 16mm. Cameras

0.7" T 2.7 (f/2.5) B&H Super Comat Foe. Mt.
1" T 2.1 (f/1.9) B&H Super Comat "
2" T 1.6 (f/1.4) TTH Ivotal » "
2.8" T 2.5 (f/2.3) TTH Panehrotal " "
3" T 4.5 (f/4) TTH Telekinic " »
4" T 2.5 (f/2.3) TTH Panehrotal " "
4" T 5.1 (f/4.5) TTH Telekinic . " "

Bell & Howell 70-A (above Serial No. 54090)

Bell & Howell 70-D, E, G, J, DA, DE, DL, S

Bell & Howell Auto Load

Bell & Howell Auto faster

Bolex H-16

Revere 16

Revere 26

Auricon Pro

Auricon Cine Voice

Victor: Model 3 (above Serial No. 36885)
Model 4 (above Serial No. 20026)
Model 5 (above Serial No. 52151)

Grover G.S.A.P.

Keystone: all 16mm. models

Morton Soundmaster

Pathe Super 16

Maurer 05

Nord Professional

B&H and TTH Lenses for 8mm. Cameras — All Filmocoted

Will fit the following B&H Cameras:

0.5" f/2.5 B&H Comat Univ. Foe.
0.5" f/1.9 B&H Super Comat Foe. Mt.
0.5" f/1.4 TTH Ivotal " »
1" f/1.9 B&H Super Comat " "
1" T 2.1 B&H Super Comat " "
1.5" f/3.5 B&H Comat
1.5" f/3.5 TTH Anastigmat " "

Sportster

Companion

Tri Lens 8 !

172 B |

172 A (Auto 8)

2" f/3.5 B&H Telate Foe. Mt.
2" f/3.5 TTH Kinic » »

Sportster and Companion
Tri Lens 8

2" f/1.4 TTH Ivotal Foe*. Mt.
2" T 1.6 TTH Ivotal " »

Sportster and Companion

FIG. 1: B&H and TTH Cooke lenses for all 16mm. cameras save Cine-Kodaks are listed in upper section. The 8mm. camera lenses fit only on Filmos.

127

Bell 8C Howell Company surveys the 8 and 16mm. lenses offered

the amateur in their B&H and TTH formulas

Third of a series

FIG. 2: Here are the
various B&H lenses in
combinations on Filmo
70-DL turret without
creating physical or
optical interference.

LENS COMBINATIONS which can be mounted on the B&H 70-DL turret head with-
out interference by the longer lenses with the fields of the shorter lenses.

Shortest
lens on
turret

B&H lenses which may be used on 70-DL turret with shorter lenses listed
at left. Lenses in these columns are to be focused on infinity (which
reduces their length to the minimum).

0.7" f/2.5

1" f/1.9

2" f/1.4**

2" f/3.5

2.8" T 2.5t

3" f/4

4" f/4.5r

1" f/1.9

2" f/1.4**

2" f/3.5

2.8" T 2.5f

3" f/4

4" f/4. 5

2" f/1.4

2" f/3.5

2.8" T 2.5f

3" f/4

4" f/4. 5

2" f/3.5

2.8" T 2.5f

3" f/4

4" f/4. 5

6" f/4. 5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4- 5*

3" f/4

4" f/4. 5

6" f/4. 5

4" f/4. 5

6" f/4. 5

7 With sunshade and/or filter removed

* Telate only

** With 2.8" T 2.5 lens removed

LENS COMBINATIONS which can be mounted on the B&H Auto Master turret head
without interference by the longer lenses with the fields of the shorter lenses.

Shortest lens
on turret

B&H lenses which may be used on Auto Master turret with shorter lenses
listed at left. Lenses in these columns are to be focused on infinity
(which reduces their length to the minimum) .

0.7" f/2.5**

1" f/1.9**

2" f/1.4

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5*

1" f/1.9

2" f/1.4

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

2" f/1.4

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

3" f/4

4" f/4. 5

6" f/4. 5

4" T 2.5

May be used with any other one lens

4" f/4. 5

6" f/4. 5

FIG. 3: Similar lens
combination data for
Auto-Master turret is
presented at left. To
shorten focal length,
set all at infinity.

* Sunshade must be removed

**Place viewfinder objective in position farthest from 2.8" lens

THREE SEPARATE SERIES

Although the 16mm. camera lenses are listed in this
table in order of their focal lengths, this large assort-
ment can be broken down into three distinct series or
families of lenses.

The Bell & Howell I Comat and Telate) lens series,
with focal lengths from 1 to 6 inches, includes six of the
finest domestic optics money can buy.

The Taylor Taylor Hobson Cooke compact telephoto
(Telekinic) series combines the optical quality for which
Cooke lenses have long been preferred in Hollywood with
a compact design which makes them highly adaptable for
use on turret cameras. This set of four telephoto lenses
includes focal lengths from 2 to 6 inches.

The already famous "New Family" of B&H and TTH
superspeed lenses, which offers the highest degree of
correction in lenses of comparable focal lengths ever

developed for 16mm. filming, includes the .7 inch //1.5
B&H Super Comat: the 1 inch f 1.4 TTH Ivotal: the
2 inch //1.4 TTH Ivotal; the 2.8 inch T/2.5 TTH Pan-
chrotal and the 4 inch T/2.5 TTH Panchrotal. In spite
of their great speed, all of these new lenses except the
4 inch T/2.5 can be used on the turret of any B&H
camera and most other turrets without interference.

POSSIBLE LENS COMBINATIONS
However, because of the compact design of many
camera turrets, as compared with the size of the new-
speed telephoto lenses, a wide angle lens may photograph
the end of a large telephoto lens located next to it on a
camera turret.

Figs. 2, 3 and 4 show which lenses can be used together
on the turrets of the. Bell & Howell 70-DL. Bell & Howell
Auto Master and Bolex H-16 [Continued on page 132]

128

APRIL 1951

News of the Industry

Up to the minute reports on new

products and services in the movie field

J. S. Exner

Berndt exhibit The historical col-
lection of motion
picture cameras owned by Eric M.
Berndt was featured at a recent meet-
ing of the Los Angeles Cinema Club in
California. Mr. Berndt has been col-
lecting early cameras for a period of
25 years and he states that he is
always in the market for old movie
cameras and projectors. He can be
reached at Berndt-Bach. Inc.. 7377
Beverly Boulevard, Los Angeles 36,
Calif.

New KodaguideS EastmanKodak
Company has
issued two new exposure guides — a re-
designed Movie Kodaguide for both
black and white and color work indoors
and out and a Snapshot-and-Flash
Kodaguide for still photographers. In-
doors, the Movie guide now includes
directions for using the popular bar-
type lights, as well as conventional
flood units.

Tenplus gloves Washable white
gloves, made of
rayon tricot, are offered by The Ten-
plus Company, 43L Garden Drive,
Roselle, N. J., for use in protecting
film during handling and editing.
Priced at $1.98 a pair, they come in
small, medium and large sizes.

New Keystones Culminating five
years of inten-
sive postwar research and development,
Keystone Manufacturing Company,
Boston, Mass., announces its new line
of movie cameras and projectors. The
Riviera is an 8mm. magazine camera
in both single lens and turret styles;
the 1951 Olympic, an 8mm. roll film
camera, has a new type of exposure
guide and improved mechanism for
drop-in loading of film; the Mayfair
is a 16mm. magazine model, and the

THE MAYFAIR, a 16mm. magazine model, one
of four new cameras offered in 1951 by the
Keystone Manufacturing Co. of Boston, Mass.

E. M. BERNDT, center, dis-
cusses an item from his col-
lection with officers of the
Los Angeles Cinema Club.
Looking on are Dr. Harold
L. Thompson, Harold C. Ram-
ser and Richard Reed, presi-
dent.

new Criterion is a deluxe 16mm. roll
film camera with turret.

Featured on all these Keystone cam-
eras is a built-in viewfinder for the
wide angle lens, and a top speed of 48
or 64 frames per second.

The new Regal 8mm. (Model K109)
and the new Belmont 16mm. (K161)
projector-editor-splicer make editing
simpler. The splicer is concealed in
the base of the projector, to be pulled
out when needed. Another innovation
is a lamp plug put in the base of the
projector for hookup with a table lamp.
An interlocking switch turns off the
lamp when the projector goes on and
vice versa.

Robert C. Berner, sales manager of
Keystone, states that the average price
of the new models is actually lower
than the models they succeed, a saving
made possible by the substantial in-
crease in sales of the entire Keystone
line. These new instruments will be
available in about two to three months,
the company states.

R. S. Pea re General Electric an-
nounces the death of
Robert S. Peare, vicepresident of GE
in charge of public relations and ad-
vertising policy, on March 19 in Sche-
nectady, N. Y. In 1946 Mr. Peare re-
ceived an award from the National
Association of Public Relations Coun-
sel, Inc., as having made "the greatest
contribution in the past year toward
improvement of the techniques and
application of public relations from
the professional and ethical stand-
point." Mr. Peare had been with Gen-
eral Electric since 1922.

New Par turret Par Products Cor-
poration has in-
troduced a new four lens turret and
rackover for Bell & Howell series 70
cameras. The turret features full frame,
ground-glass focusing through the tak-
ing lenses, a filter slot for behind-the-
lens filters and a focus compensator
that assures critical focusing with one,
two or no filters in use. The turret is
available with or without the rackover.
It accommodates simultaneously four
lenses, from wide angle to telephoto.
without interference, and includes a

positive turret indexing mechanism and
a "constant apparent field" viewfinder
system.

Further information may be had
from Par Products Corporation, 926 N.
Citrus Avenue, Hollywood 38, Calif.

New home Official Films, Inc., has
moved all its facilities
into a new building in Ridgefield, N. J.
Located at Linden and Grand Avenues
on U. S. Route 6, the structure now
houses the sales office and shipping
department, making it possible to cut
delivery time on orders by one or two
days.

John W. Scott Eastman Kodak
Company announces
the death on March 23 of John W.
Scott, a production consultant on the
Kodak Company's executive staff. Mr.
Scott had been associated with the
company since 1918 and in 1923 joined
the sales department for special work
on the new Cine-Kodak camera. In
1939 he coordinated the Eastman Ko-
dak Company exhibits at the New
York World's Fair.

Tiffen news The Tiffen Manufac-
turing Corporation,
71 Beekman Street, New York City,
is now supplying two screw-in type
adapter rings to fit the new line of
Kern-Paillard Visifocus lenses. One
adapter ring, accepting the Series V
filters, will fit all the new Visifocus
lenses except the 6 inch //4; for this
lens a Series VI screw-in adapter ring

A 4 LENS TURRET for Filmo series 70 cameras
is now offered by Par Products, of Hollywood.

MOVIE MAKERS

129

is supplied. List price for the Series V
is $1.40, with a companion lens shade
offered at $1.75. The Series VI ring is
$2.40, and the appropriate lens shade
lists at $2.00.

Tiffen also offers a stainless steel
ruler, marked in 32nds of an inch and
in y'2 millimeters. Called the Tiffen
Pocket Rule, it is 6 inches long and is
equipped with a clip for handy pocket
carrying.

EnteCO The United States armed
forces are being supplied
with the products of Enteco Industries,
Inc.. of Brooklyn, N. Y., it is reported,
particularly lens hoods, filters, adapter
rings and special precision optics. So
far, Enteco states, this military work
has not affected its output for civilian
use.

Stills Wanted Robert Brightman,
editor of Good Pho-
tography, has issued an appeal for well
written and illustrated articles on
photographic subjects for use in the
13th edition of that publication which
is to appear early this coming summer.
Color transparencies which are suitable
for cover use also will be considered, as
well as prints for the Salon section.

Mr. Brighton also states that Photog-
raphy Handbook, No. 15 is in the mar-
ket for material concerned with how-to-
do-it and how-to-build-it items relating
to photography, as well as prints for its
Salon section. Further details concern-
ing rates and requirements may be had
from Mr. Brightman, 67 West 44th
Street. New York 18, N. Y.

RCA campaign RCA Victor Div-
ision of the Ra-
dio Corporation of America has
launched a campaign to conserve criti-
cal materials, called the "Triple S"
drive, the theme of which is "Save
materials — Save jobs — Serve your Coun-
try." Heart of the drive is an expanded
and accelerated employee suggestion
program for ideas in cutting waste and
using available materials in place of
those in tight supply.

EBF in T. H. Wadsworth's in Hon-
olulu has been named
as exclusive distributor in the Hawaiian
Islands of Encyclopaedia Britannica
films and filmstrips, it has been an-
nounced. Gale Mobley will be in
charge of the EBF film distributing
program and will serve as consultant to
educators in the islands in planning
their audio-visual instructional pro-
grams.

E. K. items Richard M. Wilson has
been named superin-
tendent of the film emulsion coating
division at Eastman Kodak Company's
Kodak Park plant. He succeeds David
A. Babcock, who retired recently after
45 years of service.

Headquarters for the new midwest
division of Kodak's motion picture film
department were opened recently at
137 N. Wabash, Chicago.

Joseph C. Golan is the new super-
intendent of EK's cine and sheet film
division at Kodak Park. He follows
Henry T. Ireland, retired after 43 years
in the company.

A total of 355 photo sales personnel.
divided into fourteen groups, attended
ten day sessions at Kodak's sales train-
ing center in Rochester during 1950.
More than 900 have attended the course
since its opening in 1948. said Howard
F. Kalbfus, director of the center.

New Zealand reporting!

[Continued from page 118]

It was in this part of the Island that
the Notornis, or Takahe, was recently
rediscovered.

There abounds, too. the filmer who
loves to show those charming white dots
at the beginning of a film, usually as
a fond child is featured swinging the
family cat by the tail. This continues
for perhaps some four minutes, with
now and again, "Sorry, it's out of focus
here," or "Watch closely now — that's
me in the garden."

ORGANIZED CLUBS ACTIVE
There are quite a number of amateur
movie clubs, ranging in size from the
Christchurch Movie Makers with a
membership approaching 150, to the
new Motueka Movie Makers in a small
town near Nelson, with a membership
of thirty five. As in other countries, in-
structional films are screened and talks
are given at our meetings, usually sched-
uled twice a month. Competitions are
held, perhaps for a holiday film, a
16mm. color or a four minute film. At
present, the only nation-wide competi-
tion, open to members of any club in
New Zealand, is the Centennial Cup
Competition, instituted in 1948 by the
Otago Cine Photographic Club, of Dune-
din, to commemorate the 100th Anniver-
sary of the founding of the province.
This club turned out a very fine
16mm. color film of Centennial activ-
ities covering almost a year. Such events
included a re-enactment of the landing
at Port Chalmers by the early settlers
in 1848; the centennial procession.
Cavalcade of Progress, and various
sports events. The film was shot by
members of the club, who lent their
film to a committee which was respon-
sible for the editing and titling of the
master copy, this being duplicated in
Melbourne.

ACL VISITORS WELCOME

If any ACL member is contemplating
a visit to New Zealand, he should bring
ALL the film he is likely to use. There
is no customs duty on film stock or cine

Photo by H. Pimental, Los Angeles

Get the New

MEDIUM BEAM

REFLECTOR
PH0T0FL00DS

PH-375

You need good light
to shoot that first tooth and
other memorable events! Get it
—easily— with the new General
Electric Medium Beam Reflector
Photofloods!

These new PH-375s are made
especially to give you better
home movies. Use four on a
single home lighting circuit.
You get plenty of light right
where you need it, and with less
current! Grand for color!

Try them! Set up four PH-375s,
shoot away — and get movies
you'll love.

And to follow action, try PH-375s in
camera bracket lights. (Ask your dealer
about handy, complete packages — lamps
and bracket.)

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GENERAL
ELECTRIC

130

APRIL 1951

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equipment, but the American visitor
should procure from the U. S. customs
authorities a certificate of ownership of
these materials, for use on re-entry into
the States. The tourist can rest assured
of a warm welcome from any amateur
club in New Zealand and a particular
invitation to visit my own home. My
address is available from ACL.

Here in New Zealand we are all look-
ing forward to the day when film and
cine equipment are available in quanti-
ties which will let everyone do all the
filming they wish. Until then, we can
only wait — and read Movie Makers!

Filming a festival

[Continued from page 115]

and Fourth of July — to mention those
most frequently celebrated. Festivals, on
the other hand, usually last for the
better part of a week, and are planned
so that on successive days some public
event takes place.

These public events are usually elabo-
rate, and to set up and get ready for
them may require at least an hour. Time
is needed to try out several possible lo-
cations for the camera, to make sure the
tripod is level, to have the lens set for
the grand opening, and to study the pro-
gram and calculate the best breaks for
changing film. Only by unhurried prep-
aration can the results fulfill your ex-
pectations.

POSITION FOR PARADES

The most colorful of the individual
festival events usually take the form of
parades, group dancing, exhibits and
pageants. For parades or processions
of any kind, the camera position should
be such that the marchers do not cross
the filming field at right angles. Let
them pass through the frame diagonally
in such a way that, as they approach
the camera position, you will be able
to get a relatively close shot of the
individuals performing. In filming the
Pinksterfeist, wherein the children pa-
raded in self-designed hats — some beau-
tiful, some fantastic, some grotesque — a
concentration of head-and-shoulder close
shots was used to emphasize the bon-
nets. Spectator shots for this perform-
ance ran the gamut from interested
smiles to boisterous applause.

FILMING THE LIGHT FANTASTIC

For group dancing, in order to make
full-costume long shots as well as intri-
cate figures in the dance, the best corn-
era position is about twenty five feet
from the front line of performers. If
possible, try to ascertain from the leader
of the group the dances which are most
interesting. It is also a good idea to
know how many minutes are devoted
to individual numbers, since that will
help in planning the footage consump-
tion. It is far better to film one complete

dance routine (that is, by combination
of long shot and telephoto shot to give
the semblance of a complete dance)
than it is to have bits of five or six dif-
ferent numbers. These will give trouble
not only in editing but also in your
musical scoring.

And speaking of music, if the tunes
used for the dances are not familiar to
you, the leader will usually be able to
furnish the titles. In fact, it is frequently
possible to secure the same recordings
used by the group, which saves a great
deal of time when the film is being pre-
pared for presentation. If, as it some-
times happens, choral numbers are in-
cluded in the program, they may safely
be disregarded, unless a few shots of
them are used to break the pattern of
too much dancing. For reaction shots,
spectators applauding serve to good ad-
vantage, as well as shots of the band
or orchestra, if live music is used.

Exhibits can be monotonous. If they
are outdoors (booths selling flowers or
souvenirs), wait to photograph them
until there are customers or visitors
examining the displays. If any of the
articles are unusual, closeups can add
an interesting note, especially if the
booths are attended by costumed ven-
dors. Indoor exhibits may be enlivened
by changing the camera angle for each
shot to be included. It is hardly nec-
essary to film all the exhibits; but, if
blue ribbons have been awarded, in-
clude them as newsworthy reporting.

THE BIG PAGEANT

The climactic pageant offers the most
colorful sequences and is usually most
elaborate. The processional or grand
entrance — call it what you will — is log-
ically the opening scene. After the ac-
tion has begun, concentrate on the main
characters, who will now be in central
stage positions. The telephoto lens is
best for this task, since your subjects
will be most attractive if they are re-
laxed and unconscious of the camera.
Turn the lens on the spectators fre-
quently to catch them in a variety of
attitudes — intent on the show, applaud-
ing, taking snapshots or movies — any-
thing that is in keeping with the general
atmosphere. But be alert for the pag-
eant's closing phase and, as the per-
formance draws to a close, be hopeful
that the crowd does not rush on the
field, spoiling your last closeup of the
Queen of the Festival! For there must
be material for a logical ending, or a
film otherwise excellent can fall rather
flat.

THE END IN VIEW

And so the Festival is over — but not
for the movie maker. Ahead are long
hours of cutting and editing, selecting
and timing the music and writing the
narration. Don't grieve if there are too
many cuts of the parade and too few
reaction shots to smooth out the effect.

MOVIE MAKERS

131

By "creative faking" (see Movie Mak-
ers, February, 1949), friends can be
induced to pose for closeups taken from
a low angle against a blue sky. Often,
it is even possible to get participants
to meet for a retake, since they usually
are so surprised and pleased to be "in
a movie" that they will don the costume
again and again to help out.

In fact, this friendly spirit of co-
operation, encountered so often while
making a movie of this kind, is a heart-
warming reward in itself. Now both the
pageant and the picture draw people
together as they look at each with a
refreshed vision. Fortunate, indeed, is
he who lives in or near a community
which sponsors a Spring Festival!

>equenci

ing Seq

uoia

[Continued from page 121]

quoia giants. Estimated as approach-
ing 4,000 years old and as such the
oldest of all living things, this ancient
patriarch of the forests contains enough
lumber to build forty five-room houses.
Tall as a sixteen story building, it
would require thirty railroad cars to
haul its main trunk. Surrounding the
General Sherman stand a score of other
Big Trees which nearly attain its tow-
ering height ; together they create one
of the most impressive sights in the
park. From them the highway leads
past Lodgepole Lake and Camp. Lost
Grove and finally to the northwestern
boundary of Sequoia National Park.

GENERAL GRANT VILLAGE
At 6.600 feet and forty six miles
from the Ash Mountain entrance, the
Generals Highway officially ends. The
same route, however, continues as U.S.
180 through General Grant Village and
beyond it for twenty eight miles into
the south fork of Kings River Canyon,
at Cedar Grove.

The General Grant Village is to
Kings Canyon National Park what the
Giant Forest Village is to Sequoia.
Here all types of accommodations may
be found, duplicating Sequoia's hos-
pitality except on a somewhat smaller
scale. Three hundred yards from the
village, on the road to Kings Canyon.
a left turnoff leads to the Big Trees.
Parking your car. you may walk along
footpaths shadowed by many interest-
ing giants.

Near where a bulletin board displays
full data on the grove stands the Gen-
eral Grant Tree, second in size only to
the General Sherman in Sequoia. Its
age is calculated to be in excess of
3.500 years. But among the more inter-
esting trees of the Grant Grove is the
Fallen Monarch, a prostrate giant so
hollowed out by fire that within its
trunk a man could, at one time, ride
horseback through almost the entire
length. There is a history attached to

this log that bears mentioning. In 1868
a pioneer filed a timber claim on the
Grant Grove and lived in the fallen
Sequoia until he built his cabin in
1872. In later years, sheepmen and
cattlemen used it as a headquarters and
in lumbering days it was a saloon. And
prior to 1913, as an additional insult
to its majestic grandeur, it was used
as a stable for the United States Cav-
alry patrolling the park.

DOWN TO KINGS CANYON

From the General Grant Grove, the
highway winds its way down into the
glacier-carved canyons of the Kings
River country, past such points of in-
terest as the turnoff to Hume Lake,
now a sleepy little resort but the site,
fifty years ago, of a dam for logging
operations.

On the main highway again, the road
continues to plunge downward till it
reaches a parking area above the junc-
tion of the middle and south forks:
here one may look deep into the can-
yon and see the Kings River take a
"U" shaped turn. Beyond this point
the road is cut into the very rock of
the canyon walls, with one spectacular
river view succeeding another, till the
highway ends at Cedar Grove.

Hints on turntables

[Continued from page 117]

with sewing machine oil and running it
in for three hours. Had this failed, the
table could have been calibrated bv
building up the diameter of the metal
driving spindle of the motor shaft with
solder (and then filing it round while
running the motor) .

ADAPTING PICKUPS
When you purchase your pickups you
will probably discover that only the
very expensive transcription heads are
equipped with tone arms of greater
than normal length. Using the rela-
tively short, standard tone arms causes
the location of the pivot rjoints to fall
close together between the tables, a
very inconvenient location. My solution
was to purchase short inexpensive arms
at $2.95 each (though thev have a fre-
quency response up to 5000 c.p.s.) and
then to increase their effective length
by modifving the linkage at the pivot
points. The new linkage was made to
fit into the arm by reshaping its ther-
mal plastic shell with a soldering iron.
One final point. If you are. at nresent.
a magnetic (wire or tape) sound en-
thusiast, or even if you are a member
of the elite sound-on-film clan, you will
still find a set of turntables an invalu-
able tool in preparing your sound
track; for only in this way can you
bring the music, sound effects and
voice together at the same time — the
way you want them.

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132

APRIL 1951

Will they fit my camera?

[Continued from page 127]

cameras. The turrets of these cameras
may be regarded as typical of the vari-
ous 16mm. turret cameras that are avail-
able. You will notice that longer focal
length lenses can be mounted on these
camera turrets if the compact, medium
speed objectives are used in place of
the larger speed lenses.

STANDARD LENS ACTION

Earlier in this discussion, we as-
sumed that your camera was currently
equipped with a lens which was nor-
mal, or standard, for its size of film.
This would mean that from the galaxy
of lenses already tabulated you are
now seeking a suitable wide angle or
telephoto lens to increase your filming
facilities. To understand most clearly
what each may do for you, let us ex-
amine for a moment what the so-
called "standard" lens does for you.

Broadly speaking, the focal length of
a lens determines the degree of magni-
fication it offers and therefore its ef-
fect on pictorial perspective. The focal
length that is regarded as standard is
that one which gives about the same
magnification and perspective as the
human eye. The standard focal lengths
are % inch (12%mm.) for 8mm. cam-
eras, 1 inch (25mm.) for 16mm. cam-
eras and 2 inch (50mm.) for the pro-
fessional 35mm. cameras.

WIDE ANGLE LENS ACTION
A wide angle lens, therefore, will be
any lens with a focal length shorter

than that of the standard lens. Taking
in a wider angle of view, both hori-
zontally and vertically, it will make ob-
jects appear smaller than they actually
are and will elongate perspective from
front to back. A wide angle lens is
essential for indoor work or for any
other shots where the photographer
cannot get back far enough to include
all of the subject with the standard lens.
Its effect on perspective is similar to
that created by looking through the
wrong end of a pair of binoculars. It is
often used, therefore, to make rooms
appear larger than they actually are,
to exaggerate distance and to acceler-
ate subject movement from front to
back.

TELEPHOTO LENS ACTION
The telephoto lens, conversely, is
any lens with a focal length longer
than that of the standard lens. Its ef-
fect is to magnify objects, make them
appear closer to the camera than they
actually are, and thereby to compress
perspective.

Telephoto lenses are all too often
considered useful only for bringing
distant objects up close. When con-
sidering a telephoto accessory lens,
however, don't overlook its ability to
magnify subjects in closeup. All B&H
and TTH telephoto lenses may be
focused critically on subjects only a
few feet from the camera. With a
three or four power magnification at
this distance, you can get some spec-
tacular studies of flowers or insects, or
many amusing candid portraits.

These, then, are the broad, general
abilities of the wide angle lens and of

the telephoto. Which you add first to
your equipment will depend, naturally,
on the kind of filming you most often
engage in. Ultimately, our guess is
that you will want them both.

In closing, I should like to report
briefly on three aspects of Bell &
Howell lenses, each one of which we
regard as exclusive to our optics and
all of which will contribute to the uni-
formity of your movie making.

THE POSITIVE VIEWFINDER
First on the list is our "positive"
principle of viewfinder construction,
whereby interchangeable viewfinder ob-
jectives are matched to show the exact
fields covered by their corresponding
camera lenses. With this positive-type
viewfinder — which is standard on all
B&H cameras except the Companion
and the Sportster — the image does not
move as the eye shifts, so that the limits
of the field are always sharply defined.
Such positive finder objectives are avail-
able for all our 16mm. focal lengths
from 0.7 of an inch to 6 inches and for
all 8mm. focal lengths from 0.25 of
an inch to 2 inches.

UNIFORM MAGNIFICATION

Even more important to uniformity
of action throughout a series of lenses
is that the degree of magnification be-
tween one lens and the next should
itself be uniform. Such has never been
the case with the customary "1-inch"
series, in which a given increment is
added between each focal length. In
other words, the difference in magni-
fication between a 2 inch and a 3 inch
lens is not the same as the difference

FIG. 4: Representative combinations of B&H and TTH lenses in all standard turrets are offered here as applied directly to Bolex H-16 camera.

Lens Combinations (B&H and TTH lenses) which can be mounted
on the Bolex H-16 camera turret without interference.

Shortest Lens
on Turret

B&H and TTH lenses which may be used on Bolex H-16 camera turret with shorter lenses listed at left.
Lenses in these columns are to be focused on infinity (which reduces their length to the minimum).

0.7" f/2.5
(T 2.7)

1" f/1.9
l"f/1.4

2" f/1.4** t
2" f/3.5

2.8" T 2.5** t

3"f/4

4" f/4.5

4" T 2.5*

6" f/4.5*

1" f/1.9

(T 2.1)

2"f/1.4t
2" f/3.5

2.8" T 2.5t

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5**

1" f/1.4t

2" f/1.4*
2" f/3.5

2.8" T 2.5*

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5**

2" f/l.4t
(T 1.6)

2" f/3.5

2.8" T 2.5*

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5*

2" f/3.5

2"f/1.4t

2.8" T 2.5t

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5

2.8" T 2.5*

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5*

3" f/4
(T 4.5)

4" f/4.5

4" T 2.5*

6" f/4.5

4" f/4.5
(T 5.1)

4" T 2.5*

6" f/4.5

4" T 2.5§

6" f/4.5*

**With sun shade and/or filter adapter removed when mounted in seat adjacent to "Shortest lens."
fMay be mounted on turret with, but should not be in seat adjacent to 1" f/1.4; 2" f/1.4; 2.8" T2.5 or 4" T 2.5 TTH lenses.

May be mounted on turret with, but should not be in seat adjacent to "Shortest lens on turret."
§The speed and long focal length of the 4" T 2.5 TTH lens require a lens barrel of diameter so great that it will overhang the lens seat adjacent to it,

thus permiting the use of only one other lens on the turret.

MOVIE MAKERS

133

between a 3 inch and a 4 inch ob-
jective.

A consistent increase in magnifying
power is obtained only by multiplying
each focal length by a given figure. In
our new series of lenses — the first and
only set offering uniform step magni-
fication from lens to lens — the magni-
fying factor we have selected is 1.4.
This means (1) that the focal length
of any lens will be 1.4 times the focal
length of the lens preceding it in the
series, and (2) that the field covered
by each lens in the series is exactly
twice that covered by the lens of next
longer focal length.

THE T-STOP SYSTEM

Finally, there is the problem of uni-
formity of exposure (and therefore of
color values) between consecutive
scenes in any film created by a truly
critical cinematographer. We do not
refer here to variations in exposure
traceable to an inexperienced judgment
or an inaccurate use of the exposure
meter.

Our concern, rather, is with notice-
able differences in exposure between
scenes taken consecutively and under
identical lighting conditions — but with
lenses of varying focal length. You
have, let us say, sequenced a given sub-
ject from a single position with your
wide angle, standard and telephoto
lenses. The lighting remained the same.
and you used the same / number on
each lens — but one shot may be slightly
over, one under and only one correct
in exposure values.

We here at Bell & Howell believe
that such annoying variations may be
traced, on occasion, to the possibilities
for accumulated exposure error in the
/ stop system. Based on a simple math-
ematical ratio between a lens's focal
length and its maximum aperture, the
system does not take into account the
varying amounts of light which may
be lost as it (the light ) passes through
one lens and another. Thus. //8 on
your standard lens may produce per-
fect exposure, while //8 on another lens
may be unsuitable from the point of
view of matching color values.

For the critical color worker our
answer to this problem is the T/stop —
or "transmission" — system of lens cali-
bration. With it. each lens is individu-
ally calibrated with T/stop numbers
based on physical measurements of the
actual amount of light transmitted at
each aperture. With such calibrations
there can be no variation between the
light transmitted by any two lenses set
at the same T/stop.

(If any reader of Movie Makers is
interested in studying this matter
further, Bell & Howell Company will
be happy to send you on request a copy
of "This T-Stop Question," giving de-
tailed information on the T/stop sys-
tem— The Editors.)

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desired. Add 25c handling charge on
orders of less than $5.00. No C.O.D.'s.

HOUSE OF COLOR

4423 Harvey Way Long Beach 8, Calif.

Had a Film

REVIEWED

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The ACL Film Review Service, avail-
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League member, provides you with
an expert and impartial estimate of
your filming progress. Friendly sug-
gestions are offered for polishing
your present picture and improving
your future filming.

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Amateur Cinema League
420 Lexington Ave., New York 17, N. Y.

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637 Arch St., Phila. 6, Pa., U.S.A.

134

I.A.C. competition Enclosed with a recent note from
Leslie M. Froude, secretary of the
Institute of Amateur Cinematographers, ACL, in Eng-
land, was a list of their 1950 annual contest awards. The
Daily Mail Challenge Trophy, for the most outstanding
film entered, went to Jael's Nail, a black and white com-
edy by the Stoke-on-Trent Amateur Cine Society.

The other awards, listed in order, follow: Amateur Cine
World plaque, for most meritorious 16mm. work, to
Tides of Fortune, by the Southwick Players; IAC Silver
Medallion to Christopher Simpson for Time Flower;
IAC Silver Medallion to J.» N. Unwalla for One Dinar
More; IAC Bronze Medallion to the Crouch End Ama-
teur Cine Society for Taken. For A Ride; IAC Bronze
Medallion to the Fourfold Film Unit for People oj Paper;
The Lizars Trophy, for the best novice film, to Peter Hall
for Spring, and the Twyford Cup, for best non-sync sound
accompaniment, to J. J. Butterworth for In the Shadow
of Cader Idris. In addition, five films were highly com-
mended and eight commended.

Milwaukee gala The annual Gala Show of the Ama-
teur Movie Society of Milwaukee,
ACL. held the end of last month, this year featured the
1950 Maxim Award winner, The Gannets, by Warren
A. Levett. ACL. (The sound on film print loaned Mil-
waukee for the occasion is available from the ACL Club
Film Library.) The balance of the program included
Jones Beach, by George Mesaros, FACL; Flabbergasted,
by Ray Fahrenberg. ACL: Four Seasons, by DeLylia
Mortag: Holy Year, 1950, by Eugene H. Millmann, ACL,
and One Dinar More, by J. N. Unwalla.

Albany guests Members of the Amateur Motion Pic-
ture Society of Albany, ACL, were
visited recently by the motion picture group of the Sche-
nectady (N.Y. ) Photographic Society, ACL, who pre-
sented a program of members' films. Present Arms!, by

Tbelner Hoover

THE TWENTIETH ANNIVERSARY of the Los Angeles Cinema Club, held ot
the Wilshire Ebell Club, saw Wayne H. Fisher, founder president, cut
the birthday cake with new and retiring prexies and wives looking on.

Lewis B. Sebring, jr., ACL, headed the screening. Other
films shown were A Trip to the Gaspe, by Dr. Hyman
Rudolf: Old Man Ribber and Saguenay Trip, by Mr. Se-
bring, and Jonathan, the Chipmunk, by E. H. MacMullen.

Omaha awards The two amateur film groups in
Omaha recently held their annual
contests, which were judged by the ACL Consulting De-
partment. The Reverend Earle Conover won first place,
8mm. class, in the Omaha Movie Club, ACL, for Art of
Ceramics. Second and third prizes were given Dream
Substance, by Frank Grossbeck, and Rodeo, by Mr. Con-
over. Black Hills Epic, by Gladys Rohrs, received hon-
orable mention. In the 16mm. group, Myron Jacoby, ACL,
took first place for Wanderin Judy. Runners-up were
Rocky Mountain National Park, by L. E. McBride. ACL.
and Through the Ozarks, by John L. Koutsky. Outdoor
Nebraska, by V. B. Walters, ACL, received honorable
mention.

In the contest of the Cinema 16 Club, ACL, V. B.
Walters, ACL, won first place and grand award
with Jackson Hole. Second place went to Mike Kobold,
ACL. for South of the Border. Queen Flora's Court, by
Harold C. Ramsey, ACL, and Stops in the Scenic South-
west, by Mr. McBride, both received honorable mention.

Utah award dinner The Utah Cine Arts Club, ACL,
of Salt Lake City, held its ninth
annual award banquet in the Crystal Room of Newhouse
Hotel recently. The following club contest winners were
screened: Green River Expedition, 1950 Ten Best winner,
by Al Morton, FACL; High Waters, by Bill Langton,
ACL; Hook, Line and Stinker, by Dick Carman, ACL; /
Walked a Crooked Trail, 1950 Honorable Mention, by
O. L. Tapp, ACL: On Location with MGM, by Al Lon-
dema. and Tailspin Takes a Trip, by Helen Christensen,
ACL.

Durban A recent screening of the Cine 8 Club, ACL, of
Durban, South Africa, featured 3000 Miles of
South Africa, by Dr. H. A. Johnson. This was followed
by a panel discussion and criticism. Also projected were
Molweni, by W. E. Powell, and Bali, by Dr. V. A. Wager.
The club's fifty foot contest was won by A. Brodie with
We Love Each Other — But. Runners-up were Moving Mo-
ment of a Great Occasion, by R. B. Phelp; Flying Visit,
by A. E. Arnott, and Meeting the Browns of Durban
North, by H. Magness.

Toledo The Toledo Cine Club. ACL, introduced a
novel idea into their club activities this year.
Four members' names were drawn from a hat. Members
so elected became captains and in turn chose three others
to form four teams of four men each. At a subsequent
meeting the teams were given thirty minutes and twelve
feet of film to shoot a script. While there is no mention
of a Maxim Award being produced, members derived
good shooting practice and lively entertainment from
the experiment.

MOVIE MAKERS

Ed. Brailfii-ld

135

FRANK FISHER, ACL, left, takes the "Peter"
trophy of T & V Movie Club, ACL, in New York
City, from Dr. Herbert Shaw, ACL, president,
as Margaret Barron looks on. Fisher's award
winner was A Magical Trip Through Florida.

T & V winners Frank Fisher,
ACL. won top hon-
ors in the recent contest of the T & V
Movie Club, ACL, in New York City.
The club's rotating trophy, "Peier,"
was handed over to Mr. Fisher for his
travel comedy, A Magical Trip Through
Florida. Other winners, in order, were
Ten Year Old, by Ed Barrow, ACL,
and Handy Andy, by Saul Maslow, ACL.
All films were 8mm. and were accom-
panied by music on disc. Members of
the club, in the main, are residents of
(Peter) Stuyvesant Town and Peter
Cooper Village, adjacent post-war hous-
ing developments, hence the club
trophy, "Peter."

A members' Gala is being staged by
the T & V Movie Club. ACL. on Tues-
day, April 17. The screening will be
given in a school auditorium near Stuy-
vesant Town and Peter Cooper Village,
Manhattan. For further information,
call Dr. Herbert Shaw, ACL. SP 7-5790
or GR 7-4327. Admission is free.

Memphis elects The principal

business of the
January meeting of the Memphis Ama-
teur Movie Club was the election of
officers for the current year. Howard
W. Greene was named president, with
Frank W. White, ACL. as vicepresident.
Clara C. Canale is secretary, and Rob-
ert P. Burton is treasurer.

Maryland organizes A new

group of
amateur filmers has recently organized
at Cumberland, Md., under the name
of Western Maryland Cinematograph-
ers' Club, ACL. John F. Zimmerman is
president, and Robert 0. Slemmer is
secretary-treasurer. The club is open
to membership. Persons interested in
joining should write Mr. Slemmer. care
of the club. P. 0. Box 572. Cumber-
land.

Brazil awards Tne second Na-
tional Cinematog-
raphy contest was staged in Januarv by
Foto-Cine Clube Bandeirante. ACL. of
Sao Paulo, Brazil. The A Gazeta Trophy
was awarded Alguns Dias em Bertioga,

by Estanislau Szankowski. first prize
winner in the documentary class. The
A Gazeta Esportiva Trophy went to
Klaus M. Carioba for Santa Catalina.
The Estimulo Cup went to Jean Lecocq
for Aldeia em Paris, a sound film given
second prize in the documentary class,
while in the scientific category. Cata-
rata, by Benedicto J. Duarte. won first
prize, a technical manual.

Dr. Armando Nascimento. jr., is new
chairman of the club's motion picture
division, with Antonio da Silva Victor
named as club secretary.

Winnipeg The Winnipeg (Ont.)
Cine Club began its fif-
teenth year of activity with the follow-
ing officers for 1951 : E. H. Oliver, pres-
ident; R. G. Cairns, vicepresident; W.
R. Lawson. continuing as secretary-
treasurer, and Ron Thompson, record-
ing secretary. The executive council
consists of Ivan Lambert. Orland Gib-
son. Cecil Kerr. Bob Cohan, ACL. Jack
Saunders and D. A. Patterson.

The club's uncut film contest wa<
won by Harold Rasmussen with a
Christmas film. Runners-up were Roy
Lind and Mr. Thompson. The first pro-
gram of the new year featured 1950
Western Holiday, by Mr. Rasmussen.
and Sandy Hook Vacation, by Graham
Cairns.

New Zealand A recent Christ
church Movie Club
bulletin, Chris/church Movie Makers,
details the group's annual Best Films
of the Year showing. Here Shall Rise
a City, by Roy Evans, captured the Ian
Little Cup and top honors for the out-
standing film of 1950 produced in New
Zealand. Ian Satherley won the Novice
and Storey Cups for Show of Shows.
The Bailey Cup went to Mr. Bain for
Catch 'em Alive. Christchurch Calen-
dar, by Mrs. MacGibbon. and Story of
Two Cigarettes, by J. H. Robertson,
concluded the program.

Denver forum An open forum on
television and pho-
tographic lighting techniques was pre-
sented recently by the Denver Council
of Camera Clubs and the Illuminating
Engineering Society. The meeting
opened with a showing of the film. The
Price of Freedom.

Ra-Cine ballots Members of the
Ra-Cine Club,
ACL. of Racine. Wise, chose a new
slate of officers for the coming year.
Richard Kearney. ACL. is president,
with Louis Troestler as vicepresident.
Mrs. John Kibar is secretary and Mrs.
Henry Fugina treasurer. The Reverend
Edwin .faster. ACL. edits the club pa-
per.

One reel scenarios, filmed during the
course of a meeting night, have ab-
sorbed the members' interest in re-

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136

APRIL 1951

Classified
advertis i ng

H Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.

10 Cents a Word Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

■ CINE-SPECIAL I, black. 1" //1.9 lens, $350.00.
Cine-Special 100' chambers, S125.00; 200', S245.00.
Craig Editor, viewer, rewinds, splicer complete, new
demonstrator, list 891.50, special $55.00. Bolex H-16,
1" f/1.9 lens, $175.00. Filmo Model A, 1" f/1.9 lens,
$70.00. Kodascope FS-10N sound projector like new,
$195.00 B&H Diplomat projector and case, $145.00.
Presto 12" disc recorder, demonstrator, S225.00. Buy-
sell-trade 16-35mm. motion picture equipment. THE
CAMERA MART, Inc., 70 West 45th Street, New
York.

■ SYNCHRONOUS motors installed on 16mm. pro-
jectors. $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

■ UNBEATABLE! ! Up to 40% discount on brand
new movie and still photographic equipment. For
prices and discounts write STRAUS SUPPLY CEN-
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■ CINE-KODAK SPECIAL #1; 1948, perfect;, f/1.9
25mm. lens, P/2" E. K. telephoto; masks, $425.00.
DAVIS, 5329 Holmes, Kansas City, Missouri.

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All fully guaranteed and available on 15 day free trial.
These are only samples in our tremendous stocks.
We have any lens you need for every movie making
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Cine Telephoto (3x magnification) $34.50; 1%" //2.7
Hugo Meyer (coated) $54,00. In focusing mounts
coated for 16mm. cameras: 17mm. f/2.7 Carl Meyer
wide angle, $44.50; 2" //3.5 Kodak Ektar, $49.50;
3" f/1.9 Dallmeyer, $179.50; 3" f/2.9 Hans Mayer,
$54.00; 6" //5.5 Schneider Tele-Xenar, $124.50. Write
today for complete lens list and catalog. BURKE &
JAMES, Inc., 321 So. Wabash Ave., Chicago, 111. Att :
M. M. James.

FILMS FOR RENTAL OR SALE

B CASTLE films for sale: 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities, Animals, Flowers, etc. Sets of eight,
$1.95; sample & list, 250. SLIDES, Box 206, La
Habra, Calif.

| USED and new Castle films: 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

| FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 500.
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C, New York 16, N. Y.

■ 1951 ROSE PARADE MOVIES. Kodachrome. Col-
orful floats! Beautiful girls! 16mm. 200 ft., $29.95.
8mm. 100 ft. $14.95. C.O.D.'s accepted. California
add tax. AVELON DAGGETT, 441 North Orange
Drive, Los Angeles 36, Calif.

MISCELLANEOUS

B KODACHROME DUPLICATES; 8mm., or 16mm.,
11$ per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ NO NEGATIVE ? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements.
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

■ TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
tive from your moviefilm, or two colorprints from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 11S7 Jerome Ave., New York 52.

cent months. Demonstrations of light-
ing and other filming techniques are
regular features of these club partici-
pation activities. A program of sound
films and a visit to a professional sound
studio were featured last month.

Walla Walla The closest thing to
a traveling salon of
Ten Best films was presented recently
by the Walla Walla Cinema & Camera
Club, ACL, when the group staged its
first annual ACL Evening. The program
opened with Back to the Soil, by George
Mesaros, FACL. This was followed by
Squeaky's Kittens, by Walter Berg-
raann, FACL; Menemsha, by Jose Pa-
von, ACL ; Minnesota State Fair, by the
Minneapolis Cine Club, ACL, and One
Dinar More, by J. N. Unwalla.

The annual event is designed to bring
the club the best examples of amateur
filming in an evening-long program and
draw members' attention to the benefits
and privileges of ACL affiliation.

Seattle program A program of

short films was
presented members of the Seattle Ama-
teur Movie Club, ACL, recently. Three
8mm. films shown were Witch's Tale,
by Collene Yates, ACL; Snow Scenes
at Sun Valley, by Albert Odgaard, and
Thru the Gorges of the Stikine, by
George Tuthill. A 400 foot 16mm. color
film, Scotland, by Dorothy Beggs, com-
pleted the screening.

Chicaqo ^he Chicago Cinema Club,
ACL, had the opportunity
last month to see Nature and the Mon-
arch Butterfly, by Leon F. Urbain, when
the producer presented the film and its
accompanying lecture for the seventy
seventh time since completing it. The
film has attracted considerable atten-
tion in scientific filming circles.

This month the club screening will
feature The Mighty St. Lawrence, by
Norman Hallock. At a subsequent
meeting Cyril S. Dvorak, president of
the Associated Amateur Cinema Clubs,
will present an evening of instructional
films on the art and technique of mo-
tion picture making.

Wash. D.C. The camera class of
the Washington So-
ciety of Amateur Cinematographers is
currently engaged in producing a group
film on the Washington zoo. Each mem-
ber of the class is assigned a particu-
lar feature of the zoo and must scen-
arize and execute it himself. The vari-
ous individual parts are then studied
in the class, edited and combined.

Major William Anderson, ACL, and
Mrs. Anderson produced the top point
earner in the club's history of monthly
contest screenings. Their film. The
Monarch Butterfly Story, received 98.5
points. The other films, in order of rat-
ing, were Washington, Spring and Fall,

WITH GRATITUDE . . .

The Amateur Cinema League takes
pleasure in acknowledging, with sin-
cere gratitude, the following dona-
tions to the ACL Club Film Library:

THE GANNETS, 1950 Maxim
Award winner by Warren A. Levett,
ACL, with the sound-on-film track
recorded and donated by J. A.
Maurer, Inc., and the 16mm. Koda-
chrome picture printed and donated
by Precision Film Laboratories.

CIRCUS TIME, 1950 Ten Best
award winner by George Merz,
ACL, with sound on tape and the
16mm. Kodachrome picture donated
by the producer.

PLYMOUTH, a 300 foot 16mm.
Kodachrome study of this historic
Massachusetts landmark, produced
and donated by Oscar H. Horovitz,
ACL.

by V. E. Patterson; C. & O. Canal,
by Mrs. I. M. Cordell, ACL, and West-
ward Ho. by Roy R. Hurley, ACL.

The club recently became incorpor-
ated and at the same time changed its
name to Washington Society of Cinema-
tographers.

MMPC Gala The eighteenth annu-
al Gala Show of the
Metropolitan Motion Picture Club, ACL,
will be presented on Friday and Satur-
day evenings, April 27 and 28, at Hun-
ter College Playhouse. Lexington Ave-
nue at 68th Street, in New York City.

Featured on the program will be The
Gannets, 1950 Maxim Award winner
by Warren A. Levett, ACL. of West
Hartford, Conn. Other outstanding pic-
tures scheduled include Hands Around
the Clock, by William Messner, ACL;
Circus Time, by George Merz, ACL,
and The Barrier, by Glen H. Turner,
ACL. all 1950 Ten Best winners, as
well as Crime In Passion, MMPC club
contest winner by John Caruso, ACL,
and My Trip To Europe, by Harry
Groedel, ACL.

Tickets, priced at $1.35 tax in-
cluded, may be obtained from Mr. Groe-
del at Room 4108, 350 Fifth Avenue,
New York 1, N. Y.

MadlSOn meets The screening ses-
sion last month
of the Madison Movie Club, ACL,
featured the showing of Finland, by
Aarne Valikangas, of Helsinki, Fin-
land, an International Rotary student
attending the University of Wisconsin
in Madison. Also shown were The Bet-
ter Half, by a club group, and A Trip
to Eastern Canada, by Dr. Bergman.

Minneapolis The February meeting
of the Minneapolis
Cine Club, ACL, included a screening
session, lectures and a demonstration.
The latter, conducted by Stanley Berg-
lund, concerned synchronization of mag-
netic tape recording with projector.
Howard Fields spoke on background
music for films, and Dr. Leonard Mar-

MOVIE MAKERS

137

tin, ACL, discussed tape recording tech-
nique.

The films projected were 1949 Vaca-
tion, by C. Wm. Westafer, ACL; Min-
neapolis, by Albert Roser; Miss Amer-
ica of 1950, by Edwin L. Pearson, and
Caribbean Flight, by Dr. H. 0. Mc-
Pheeters, ACL.

The club production for the annual
Spring Show. Pentrascope Fantasy, is
going forward under the co-chairman-
ship of Dr. Martin and Carroll David-
son, ACL.

Taft session A recent regular meet-
ing of the Taft Cinema
Club. ACL. in the Bronx, New York
City, featured the following films:
Nickeltown, 8mm. project of the New
York 8mm. Motion Picture Club; Farm
Frolics and Rhapsody in Snow, an 8mm.
and a 16mm. film respectively by Terry
Manos. ACL. and Fall of the House of
Usher, from the ACL Club Film Library.

I heard it with
my own eyes!

[Continued from page 113]

— he's out!" argument at homeplate.
The kids may be better actors than you
think.

A tour de force of this kind should
not be carried to any great length lest it
trip on its own trickery. But you will find
plenty of material to make up an en-
tertaining one reeler from the sug-
gested titles and such other ear-teasing
items as you would like to add to your
picture album of spring sounds. A few
that might be included are the lawn
mower, humming tops, a park carousel,
an organ grinder, the flapping sails of
a small boat, banging shutters on a
windy day. a litter of crying kittens
or the staccato carpentry of building
bird houses.

A light novelty film of this type
might well end on a humorous note:

Perhaps the most strident of all
spring sounds is the cry of Homo
Sapiens to his mate.

Conclude with an episode in which
the wife calls in the Old Boy for a
surprise showing of the new spring bon-
net. She settles her spouse comfortably
in his easy chair and brings in a fancy,
ribbon-decked hatbox. Turning her back
to the camera, she removes the hat and
places it on her head with the aid of a
hand mirror. She moves now to model
her frippery and hands hubby the ac-
companying bill. A closeup of the bill
reveals her contempt for economy and
the hat reveals her respect for the mad-
cap tradition of Easter toppers. The
combination is too much for pater: and
we show his chagrin in a full-face close-
up, fading on a subsequent closeup of
his mouth as he gives voice to an ago-
nized veil.

Talking of the Ten Best

[Continued from page 125]

entered) and 38% story films honored
(as opposed to 17% entered).

There are, it seems to us, a number
of interesting conclusions which may
be drawn from these figures. First, as
already stated, that the majority of
amateurs make record films, the mi-
nority story films. Second, that among
those who do make story films (ad-
mittedly a difficult form for the home
firmer), the relative ability is apparent-
ly high. And third, that, if the ACL
seems to favor any type of film over
another, it is the story (or creative
work) rather than the record.

Actually, this final conclusion is in-
accurate. As far as is humanly possi-
ble, every member of our board of
judges attempts to evaluate each film
squarely on its merits — regardless of
its type. We have come by now to ex-
pect good technique (there will be
more on this in a moment). Thus.
what we are looking for, no matter in
what form it may be expressed, is crea-
tive imagination. We wish, as does our
Kansas City correspondent, to be made
to see and feel sorrow, happiness, fear
or laughter — and, we might add, such
other emotions as sincerity, wonder,
grace and tenderness. These are. ad-
mittedly, ingredients of high stature.
But where we do find them — whether
in record or plotted pictures — an award
is likely to follow.

And now a word about our judging
standards. It was stated just a moment
ago that "we have come to expect good
technique." This seems a relatively
simple statement; but it is important
that every Ten Best contestant should
understand it clearly. The facts are
these: the standards by which the
League's staff select the Ten Best
Amateur Films of each year are set by
the amateurs competing in that year —
and in all the years preceding it. They
are not set, either arbitrarily or in-
flexibly, by the League's staff.

A specific example should make this
point evident. The Ten Best contest,
first launched in 1930, was in Decem-
ber, 1950. in its twenty first year. In
perhaps the first ten of those years of
competition relatively few amateurs
used a tripod. Thus, it was entirely
possible for a film shot off a tripod
to place among the Ten Best — which,
in fact, many of them did. Gradually,
however, the judges noted that more
and more films entered for honors
were 100 percent tripod steady, a qual-
ity which so continued to grow that
today it is relatively unlikely for a
hand-held film to place among the ten.

What happened in this case? Did the
ACL judges as of, perhaps, 1941 set
up a hard and fast standard of ''no
tripod — no Ten Best?" Certainly not,

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#5 Little Bldg., Boston, Mass.

138

APRIL 1951

ON SETTING STANDARDS

IN the course of our discussion Talking of the Ten
Best, which appears on page 125, we have made a
statement concerning our contest judging stand-
ards which, to the thoughtful, might lead to an inac-
curate implication. We should like, therefore, to
examine it further in this space.

We say at one point in the discussion that, in our
contest judging, "we have come to expect good tech-
nique." A moment later we explain that the true
meaning of this statement is that our judging stand-
ards for each year are set by the amateurs competing
in that year — not arbitrarily or inflexibly by the
League's staff itself. We go on then to give a concrete
example (the ever-increasing use of tripods) of this
competitive practice in operation.

We have no intention now of retracting one iota
of our faith in this policy. We believe, both by ex-
perience and by reason, in its validity. And, at the
risk of seeming presumptuous, we can give you an
example of it in operation elsewhere. It is this . . .
By the time you read these words, the Academy of
Motion Picture Arts and Sciences will have announced
its selections of the best picture, best director, best
writer, best actor and so on for 1950. Each will be a
deserving winner, without a doubt. But they carry
with them no guarantee by the Academy, either
explicit or implied, that each winner for 1950 will
be better than its similar number of last year or the
year before. Nor should there be any such guarantee.
For these winners were not competing against the
productions of last year or the year before. Nor were

they being measured against an arbitrary Academy
yardstick to which they must stand up or fall short
of all acclaim. They were competing among the pic-
ture product of 19 50 only. And in so doing they had
set their own standards.

We come now to the implications of such a judg-
ing system. The thoughtful might well charge that
it does not make for inspiration, for a leading on of
the movie makers involved to ever bigger efforts and
still better pictures. And, they might add, such lead-
ership, such inspiration, is, surely, the avowed central
purpose of both the Academy and the ACL.

Concerning this latter statement, and speaking
now only for our ACL, we affirm it with all our
heart. For ultimately every effort of our organiza-
tion— our book, our magazine, our consulting and
our club program — is aimed at aiding each member
in making better movies. But we do not regard set-
ting arbitrary and unattainable judging standards
as a form of aid or inspiration. We recognize that
each amateur must learn to walk before he can run.
Therefore, in the Ten Best contest, we ask him only
to show us his best efforts for the year. If, in that
year, they are better than those of his fellows, his
efforts will be honored.

This does not mean, however, that we believe these
and other award winners cannot be bettered in the
future. They will be, as surely as the sun rises. And
when they are, the ACL will still be there in the
vanguard, beckoning both the victors and the van-
quished to ever finer filming.

THE AMATEUR CINEMA LEAGUE, Inc.
Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, President
Ethelbert Warfleld, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

Ralph E. Gray, V/cepresidenf
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE.. NEW YORK 17, N. Y., U.S. A.

for there is still no such fixed stand-
ard. What happened was, simply, that
so many competent amateurs took to
using tripods that it became increas-
ingly difficult to foeat their standards.

In other words, the more good movies
amateurs made, the higher they them-
selves pushed the contest standards.
By and large, this up-grading of ama-
teur production may be traced as a
steady progression through the years.
But not always or inevitably so. For
home filmers. like ordinary people, are
human and seem to have their ups and
downs. There have been, therefore, oc-
casional variations in this steady up-
ward progress. Which brings us to a
third point concerning the contest.

From time to time, as our selections

for each new year are seen by the
cognoscenti, we hear mutterings around
the movie clubs. "Shucks." this guy
will say, "I don't think this year's
Maxim Award winner (or the Ten Best
in general ) is near as good as last
year's!" This may very well be, on
occasion. And probably, if the guy
asked our opinion on this point, we
too would agree with his estimate. But
he doesn't ask it. He simply shrugs
and says: "Boy, the ACL sure pulled
a boner this year!"

What this expert forgets is a small
point of fundamental importance. This
is that the entries for each year com-
pete only among themselves. They can-
not and, in our judgment, should not
be competitively evaluated with the en-

tries of last year, two years ago or
two years hence. They represent the
amateur movies completed during the
calendar period then coming to a
close. Therefore the winners among
them must be regarded as being the
Ten Best Amateur Films of that year.
Whether or not they are better than,
lesser than or equal to the Ten Best
of former years does not enter into
the judging of the current year's crop.
Broadly speaking, the ACL looks
for and usually finds a rewarding
progress from year to year. But if it
isn't there, on occasion, we still have
to judge what is. Esthetically. we regret
a retrogression as much as the next
person. But competitively we try not to
let this becloud our judgment.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
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PLUS THE FOLLOWING LEAGUE SERVICES

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around the world for more than 23 years.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
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equipment!

4-51
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

| Name-
Street.
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Zone_

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Brownie Movie Camera

This new camera brings to 8mm. movies a
simplicity and economy comparable to that
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... its low price and real film economy cut
costs w-a-y down. The price — only $47.50.

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Another economical 8mm. movie maker, avail-
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in 3 seconds with film in pre-threaded maga-
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From the new "Brownie," for those looking for the ut-
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among expert cinematographers — one of these Kodak
movie cameras is ideally suited to your purposes. See them
all . . . and make your selection ... at your Kodak dealer's.

EASTMAN KOQAK COMPANY, Rochester 4, N. Y.

All prices include Federal Tax and are
subject to change without notice.

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Camera

IBere's a new camera that really has every-
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makes large, sharply detailed 16mm. movies.
Magazine load, single-frame release, ex-
posure guide, enclosed finder that's adjust-
able for any of 11 accessory lenses. $192.50.

Cine-Kodak Special II Camera

This most versatile of all 16mm. cameras has
every control needed for such special effects
as fades, dissolves, mask shots, multiple ex-
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NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's l/2" in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.25 each, tax included.

THE NEW ACL DECALS

AMATEUR CINEMA LEAGUE, Inc. 5_51

420 Lexington Ave., New York 17, N. Y.

As a member of the Amateur Cinema League, I am
entitled to wear the new handsome membership pin
and to use the colorful decals. I enclose my check or
money order for:

— PINS n screw_back lope' ,vpe at S1.25

D pin-back safety clasp type each

tax inc.
DECALS ot $.25 each or 5 for $1.00

NAME

.ZONE STATE.

AMATEUR CINEMA LEAGUE, INC.
420 Lexington Avenue, New York 17, N. Y.

TO ALL ACL MEMBERS:

\our many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (%" m diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal. But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 21/4" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

Cordially,

JAMES W. MOORE
Managing Director

BECAUSE of the Federal ban on all non-defense uses of copper, ACL
pins are now gold-plated on a sterling silver base. This has required
a slight price increase— from $1.00 to $1.25 each.

29 1951

MOVIE MAKERS

B ? 30 411 &

143

Late releases

H Forty Thieves, six< reels, 16mm.
sound, black and white, is distributed
by Commonwealth Pictures Corporation,
723 Seventh Avenue, New York 19,
N. Y. This is another Hopalong Cassidy,
featuring William Boyd, with the odds
forty to one. But Hoppy outsmarts the
desperate gunmen in his usual inimi-
table style. Andy Clyde is in there
again as Hoppy's pal.

■ Biography of a Fish, one reel, black
and white, 16mm. sound, is obtainable
from Sterling Films, Inc., 316 West 57th
Street, New York 19, N. Y. Filmed
underwater, this educational-scientific
short subject treats of the private life
of the male stickleback, one of the stran-
ger denizens of the deep, which is part
time mother as well as father to its
progeny. The film sells for $30.00.

B Oil Today — Power Tomorrow, one
600 foot reel, 16mm. color, sound, on
sale ($99.00) from Frith Films, 1816
North Highland, Hollywood 28, Calif.,
presents the dramatic story of oil. Aimed
at upper elementary and junior high
school classes as a teaching aid, the
film would also be of interest to individ-
uals and businesses. The story is told
through the central figure of a 13 year
old boy and his reactions to this noisy,
fabulous industry. Study guides are
available for teacher use. No rentals.

B The MacArthur Report, available in
8mm. and in 16mm. silent and sound
editions, is released by Castle Films,
Division of United World Films, Inc.,
1445 Park Avenue, New York City. It
records the highlights of MacArthur's
career in various military theatres and
includes events of the present con-
troversy.

Why M Own the Best!

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MANUFACTURERS OF SOUND-ON - FILM RECORDING EQUIPMENT SINCE 1931

144

MAY 1951

«S*

The demand for better movies for
televising offers a profitable new
field for your talents. You can
learn the special techniques
required in the new book:

MOVIES
FOR TV

By John Battison

Full of valuable ideas and information for
movie-makers, this book explains the opera-
tion, special advantages and disadvantages,
and comparative costs of all leading cameras,
projectors, film splicers and editing reels,
lighting equipment, lenses, animation stands,
optical printers and all other equipment. It
tells you what types of movies are good on
TV and which are not, and why. It shows
how to pick a good outdoor location; how
to light indoor scenes; what types of scenery
and colors are best; how to make dissolves,
superimpositions, fades, animated letters and
all kinds of special effects; how to use film
clips; how to make good newsreels; what
types of commercials have proved most suc-
cessful — altogether a wealth of wonderful
ideas for movies of any kind and a complete
guide to the special techniques and equip-
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ass?

PHOTOGRAPHIC

UP1 1(5 By Allen Greenleaf

Here, for the first time in the practical
terms needed by the photographer, is full,
reliable, unbiased information on the con-
struction and the particular merits and defi-
ciencies of all types of photographic lenses
being manufactured today. You'll learn, for
instance, the exact meaning of lens classifica-
tion; what is meant by an anastigmat lens
and what designates a superior one; how to
test a lens for resolving power or for dis-
tortion, coma and other aberrations. You'll
also learn some surprising facts about ex-
posure estimation and about all photographic
equipment related to lenses and focusing;
and you'll have a clear explanation of the
basic principles of photographic optics. With
this information, much of it not heretofore
generally known, you can be SURE of choos-
ing the best possible lens for your purposes.

SEE THEM ON APPROVAL

The Mocmillan Co., 60 Fifth Ave., New York 11

Please send me the books checked below. I
will either remit in full or return the books
in 10 days.

□ Movies for TV $4.65

Q Photographic Optics $5.00

Signed

Address

■

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

Late releases

The reader writes

Closeups

New ACL members

Filming the bride

Now for Nova Scotia!

May
1951

New 8mm. and 16mm. films 143

145

What filmers are doing 147

148

Ormal I. Sprungman, ACL 149

Couriney J. Thomas 150

Can the amateur tie into television? John H. Battison, ACL 152

Aim for the camper!

The reproduction of sound: 1

MORE ON EMULSIONS

Dear Movie Makers: I cannot agree
with Mr. Eduardo Scotti, ACL, and his
remarks concerning French Koda-
chrome and Super X film, as set forth
in your May issue. Here are the latest
ratings given out by the Paris Kodak
store :

FILM ASA WESTON

8mm. Panchro 20 16

8mm.-16mm. Super X 40 24

16mm. Super XX 80 50

Kodachrome Day. 10 8

Kodachrome A 12 10

The Kodachrome speeds above apply
equally to the 8mm.. 9.5mm.. and 16mm.
widths. I enclose a few frames of my
own 9.5mm. work exposed at these
speeds, so that you may judge for your-
self. (They are excellent — Ed.)

I also have used 16mm. Kodachrome
manufactured in the United States and
exposed it at these same speeds. The
only thing I can say of this film is that
the colors are too strong for my per-
sonal taste.

A. Rossi, ACL
Paris, France

PICTURES AT STURBRIDGE

Dear Movie Makers: Just a line well
in advance to advise you that our fourth
annual Autumn Foliage Camera Tour
will be held on Sunday, October 7, here
at Sturbridge Village. As usual, there
will be many charming models gowned
in 18th Century dress to liven up your
coverage of the Village grounds. You
may get full details by writing:

Camera Program Dep't.
Old Sturbridge Village Museum
Sturbridge, Mass.

WHAT PRICE AMATEUR?

Dear Mr. Moore: On the off chance
that you might have missed it, I enclose
a clipping of a recent news item in
Time magazine concerning an African
filming expedition by "Amateur Movie
Maker" Edgar M. Queeny. of Detroit.
I doubt if Time's editors read the same
dictionary that we do.

For here is a man who spends $300.-
000 and four months' time to travel
8.000 miles and, using ten cameras (all
by himself?), he brings back 80,000
feet of exposed film. He then imports a
staff of Hollywood professionals, rigs

up a $40,000 studio for them to play in,
and comes out with enough film (in-
cluding locally-made credit titles) to
run 50 minutes. According to my comp-
tometer, this means using roughly 1700
feet of film (at sound speed) from the
80,000 feet shot, for an over-shooting
ratio of around 40 to 1 !

Amateur? This sort of wastage isn't
accepted even by third-rate Hollywood
professionals. Any competent amateur
— say of Ten Best calibre — would be
shocked to overshoot more than 100 to
200 feet on a 2,000 foot travel picture.
Ralph E. Gray, FACL
San Antonio, Texas

HOLLAND CALLING

Dear Friends: After my S.O.S. from
Holland in The Reader Writes column
of Movie Makers for February, 1949,
I received several back copies — for
which I am very thankful.

However, I should be very glad to
receive back copies issued during the
World War II years of 1940-1945,
when we here in Holland could not
possibly get any magazines. Readers
who are intending to throw away such
copies, please do not do so. Send
them to:

K. Van Rijsince, ACL
Sinaasappelstr. 155
The Hague, Holland

CLUB EXCHANGES WANTED

Gentlemen: Our Eight-Sixteen Movie
Club of Philadelphia is interested in
exchanging club film productions with
other 8-16 clubs throughout the world.
If your group is interested, please
write to the undersigned.

Dominic Diletto
Director
Eight-Sixteen Movie Club
4310 Sheffield Avenue
Philadelphia 36, Pa.

MacARTHUR IN N. Y.

Dear Movie Makers: I would like to
exchange footage on the MacArthur
parade in New York City for similar
footage on same subject to supplement
my film of this event. 16mm. Koda-
chrome only, sound speed preferred.

Gerard Schoenwald, ACL
c/o Paillard Products, Inc.
265 Madison Avenue
New York 16, N. Y.

COMMONWEALTH

Announces
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220

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JULY 1951

Closeiips-What filmers are doing

People and Places: Glen H. Turner,
ACL, 1949 Maxim Award winner and
an assistant professor of art at Brigham
Young University, Provo, Utah, ad-
dressed a luncheon meeting there of
the Academy of Science, Arts and Let-
ters. His topic: Some of the Art Chal-
lenges in Amateur Movies . . . Philip
Lalonde, ACL, of Toronto, Ont., gen-
erally credited with first conceiving the
idea of the ACL's membership pin and
decal, was a recent visitor to Hollywood.
While there he was the guest of Fred
Evans, FACL, at a meeting of the Los
Angeles 8mm. Movie Club, ACL.

J ost about the travelingest member
we've encountered so far is George T.
Odell, ACL, flight radio officer for
Trans-World Airlines. His home base
at present is Washington, D. C, but
most of his time is spent commuting
between there, New York, Paris, Lon-
don, Rome, Cairo and any other points
in between T-WA happens to think of.
We had the pleasure recently of ar-
ranging an exchange of American and
French films through Mr. Odell's kind-
ness, a number of American and Ca-
nadian films being sent to the Club des
Amateurs Cineastes de France, ACL, in
return for which a group of its mem-
bers' films was sent to us. The Metro-
politan Motion Picture Club, ACL, of
iNew York City, staged the screening
here, and all hands seem to have been
well pleased by the exchange show.

With this item, we probably are go-
ing to miss as many movie makers as
we include. But without half trying, re-
cently, we rounded up three able ama-
teurs across the country who are con-
ducting full length public courses in the
techniques of our craft.

In no special order of significance,
they are Walter Bergmann, FACL, of
Mount Vernon, N. Y., who teaches at
the Germain School, in New York City,
and also at the Westchester County
Center; Adrian J. Lustig, ACL, movie
instructor in the adult education courses
of Detroit's Y.M.C.A., and Markley L.
Pepper, ACL, who conducts two cine
courses for the Emily Griffith Oppor-
tunity School, in Denver.

As we said, there probably are plenty
of other amateurs doing the same. If so,
we'd welcome hearing from you.

Island Holiday, contrary to your ex-
pectations of leis, guitars, grass skirts
and such, concerns the Isle of Guernsey
in the English Channel. A vacation film
produced by F. E. Davis, ACL, of Bur-
gess Hill, Sussex, it stars Mr. Davis's
children Frances and Bronwynne, three
and a half and one and a half years
old, respectively. Mr. Davis has shown
the film to numerous societies, cine and

FRANCIS E. DAVIS, ACL, center, and Mrs.
Davis chat with C. Stonelake about their
Guernsey Isle travelog, "Island Holiday."

otherwise, with a resulting stimulus to
Guernsey tourist trade.

Mr. D., by the way, would welcome
correspondence from cine hobbyists and
Rotary members. His address is Barn
House, Station Road, Burgess Hill, Sus-
sex, England.

Back from Bali, Australia and New
Zealand, Chris E. Hansen, ACL, paid
us a visit prior to departing for his
home in Denmark. He told us his Bali
film has been sold to a distributing
agency here, and his New Zealand pic-
tures are under consideration.

Across the Threshold: Prudencio
Llach, ACL, of Santiago de Maria,
El Salvador, spent a few weeks in
New York City recently, shopping for
new equipment. A comparative new-
comer to the hobby, he is mainly inter-
ested in trick photography, stereo
movies and interpretive themes . . . Car-
los Jacob, ACL, of Buenos Aires,
stopped by on his way to Europe for
an extensive filming tour . . . Roy B.
Clough. ACL, of Valois, P.Q., in Can-
ada, was trying out his Bell & Howell
Auto 8 on New York scenes in the
course of looking about for new equip-
ment.

Frank Birt, ACL, of Kloof, Natal,
South Africa, gave us an exciting hour
or so when he brought in his films of
the wild game preserve, Kruger Na-
tional Park, in South Africa. An espe-
cially stirring sequence was a bloody
battle between two bull hippopota-
muses (or hippopotami, if you like),
one of the best animal studies we've
seen, amateur or professional. Mr. Birt
was on his way home after an extensive
tour of our national parks.

Frank R. Fraprie, distinguished pic-
torial photographer and pioneer editor
of American Photography, monthly still-
photo publication of the American Pho-
tographic Publishing Company, Boston.
Mass., died last month in that city at
the age of seventy six. Mr. Fraprie had
retired from active editorship to editor
emeritas in 1949, after fifty years in the
photographic publishing field.

221

FILMING UNDERWATER

With a camera hood and fixed focal settings, you can

explore the fascinating flora and fauna of tidal pools

NEAL DU BREY, ACL

THE fascinating contents of rock pools at low tide have
always attracted me. If only, I thought, the colorful crea-
tures and plant life of these Disney-like wonderlands could
be successfully filmed! But there were many difficulties. How-
ever, after experiment, failure and at last success, I have evolved
a system which makes the filming of such pools and other under-
water subjects entirely practical. No complicated camera is
required; in fact an //3.5 fixed focus lens is ideal and the main
tool used in constructing the required apparatus is a can opener.

THE PROBLEMS INVOLVED

First, let's go over the difficulties involved and see how they
are overcome. The main problem is the rippling surface of
water, which distorts images and flashes light to the lens. This
is avoided by shooting through a large hood with a glass win-
dow up front, a combination which is fitted securely to the
camera. This glass, when held just under the water, offers a
clear artificial surface in place of the rippling water.

But there's still the problem that the light rays are bent at
this glass-air surface, upsetting focusing and viewfinding. So
two lens settings only are used whose depths of field under-
water are already known. Arms on the front of the hood mark
the near limit of the closeup setting and also aid in lining up
the subject field. Anything centered between them must be in
the lens field and must be in sharp focus. Rested on shallow
bottoms, these arms also serve to hold the camera steady for
shots of shellfish and other sitting targets.

For subject alignment at long range the regular viewfinder
can sometimes be used, as it also sees through the porthole.
But often, especially when wading, shooting from the hip is
necessary, so center lines painted on the hood, combined with
judgment, must be used.

And, as we don't want to shoot only down shots featuring
the backs of fish, the two arms can carry a mirror when re-
quired, which allows horizontal views.

THE CONSTRUCTION DETAILS

First we need a tin can, in cross section approximately 61/£>
by 4% inches in size (see Fig. 1 ) . Cut this to a
depth of 6 inches, allowing lugs at the open end
for bolting to the camera plate. This is cut to
accommodate the lens mounting, or turret, and
any other projections on the front of the camera.
There is also a hole opposite the viewfinder ob-
jective. (Some of the finder's field will be cut off
by the hood but not enough, on most cameras,
to prevent it being useful.) Plastic could be used
for this camera plate, but I find cardboard, held
together with paint, to be quite strong enough.
Strips ^4 by % inch in size, fitting the front of
the camera, are next glued on. Bulk and weight
can be cut down by making the plate narrower
and tapering the rear of the can, but this is not
essential.

Next cut the 4% by 3% inch hole for the
window. Glass of the type used for picture
framing can be used, but it should be checked
carefully for flaws and absence of color. Cut a
sheet 5 by 4 inches. The cutout on the sketch
shows the wooden [Continued on page 239]

FIG. 1: General construction of author's underwater fil
outlined above. Camera at front will be inverted for

ming hood is
mirror shot.

FIG. 2: The underwater hood in operation. Note white line for
subject centering and left index finger reaching into camera button.

GLASS FRONTED
WATERPROOF HOOD

ADJUSTABLE MIRROR

FIG. 3: In operation, the strong overhead lighting of midday is recommended. Color ex-
posures will vary from f/5.6 on closeups, as above, to f/3.5 on five foot near shots.

222

YOU AND YOUR METER

FIG. 1: Average in tone is this composite of grass, trees, sky and
water so that a direct reading on scene will give accurate exposure.

o(k^'-->laK-V

FIG. 2: A gray-card reading, with exact 18% reflectance of average
subject, is best of substitutes, may be used as-is for average tone.

FIG. 3: A reading on green grass or gray flannel slacks will serve
in place of gray card, if latter is missing from your camera case.

Accurate exposure readings are a two-part
problem. Here's how you can help your meter

Photographs for MOVIE MAKERS by
LEO J. HEFFERNAN, FACL

THERE is a comfortable feeling about owning an
exposure meter. Here at last, you say to yourself,
is a precision instrument which will tell me accurately
and under every condition exactly what exposure to give
each scene before my camera. Farewell to wasted film,
you feel. This gleaming, intelligent little gadget is going
to pay for itself in less than one summer of perfect
exposures. ... It would be nice if, without any qualifica-
tions, this were the case.

But unfortunately it isn't. Precise as your exposure
meter may be, sensitive as it undoubtedly is, your meter
still lacks one important quality. It cannot think for itself.
It needs your help. Therefore, the comfortable combina-
tion, as far as accurate exposure is concerned, is that
cited at the head of this article — You and Your Meter.
Let's see how you contribute to this combination. (In
the discussion which follows, all references are to re-
flected-light meters and outdoor color film, unless other-
wise specified — The Editors.)

SUBJECT OR SUBSTITUTE?
Broadly speaking, there are only two ways in which
you may take an exposure meter reading. These are (1)
directly on the subject to be filmed, and (2) on some
substitute for the subject to be filmed. These two basic
systems are clearly illustrated in Fig. 1 (where the read-
ing is taken directly on the subject) and in Figs. 2 and 3
( where the reading is taken on the respective substitutes,
a gray card and green grass) . In either case, the system
seems simple enough, and you may well question why
there is any problem in getting an accurate answer from
your meter. Here's why . . .

METERS SCALED FOR AVERAGE TONES
Photographically speaking, all objects are regarded as
being either light, dark or average in tone. It is recog-
nized also that many scenes — perhaps a majority of
them — are comprised of light and dark objects in more
or less equal balance, thus creating a scene of overall
average tone.

Because of this, all reflected-light exposure meters are
calibrated so that a direct reading on an average-toned
subject or scene will indicate an adequate exposure of
the subject or scene under the existing light level. Also,
since a gray card or green grass has approximately the
same light reflectance as an average scene (18 percent),
a direct reading on either of them may be used as the
correct aperture in exposing an average scene.

Again, examples of such meter usage are illustrated
in Figs. 1, 2 and 3. Fig. 1, with its distribution of trees,
grass, water and sky around the subject, is an almost
basic example of the composite average-toned scene.

WHEN IS A SCENE AVERAGE?
So far so good. But we now have to face the fact that
neither all objects nor all composite scenes are average
in tone. Somebody (you) or something (your meter)

221

FIG. 4: Scanned directly, a light-toned subject will read too
high, and should be given more exposure than the meter calls for.
With gray-card reading, light subject gets Vi stop less light.

has got to decide the tonal value — light, dark or average
— of the scene in question. And, you had hoped, making
these decisions accurately was the primary function of
your exposure meter.

Well, don't give up hope. With only the smallest assist
from you, your meter can determine the tonal value of
the scene it scans and it can then go on from there to
compute the correct exposure. Here's how you help.

STANDARD EXPOSURES A GUIDE

From long experience with color film outdoors, certain
exposures have been determined as standard for all pos-
sible combinations of subject tone and light condition.
For example, even the veriest beginner at color filming
must know by now that the basic exposure for outdoor
Kodachrome is //8 — under a bright sun casting front
light on an average-toned subject. Equally standard under
the same light intensity and light direction are exposures
midway between //8 and //ll for a light-toned subject
and between //8 and f/5.6 for a dark-toned subject.

Similar exposure standards have been worked out for
the three subject tones under the three other major light
conditions — hazy sun (soft shadows), cloudy bright (no
shadows) and cloudy dull or open shade. And all of
these standard exposure figures are supplied with each
roll of film, as well as in handy exposure calculators on
your camera and in the Movie Kodaguide.

Therefore, if you are in doubt as to the tonal value
of a certain scene, all you need do is to estimate the
light intensity (bright, hazy, cloudy, dull), take a reading
on the scene, and then check this reading with the stand-
ard exposure for the light condition prevailing. If your
meter reading is //8 under bright sunlight, then you
have an average-toned subject and you may go ahead
and film it as the meter says.

But if, under bright sunlight, your meter returns a
reading of from //ll to //16, you then have a light-toned
subject before your camera (Fig. 4). Or, again under
bright sunlight, if your meter says //4 to //5.6, you then
have a dark-toned subject before your lens (Fig. 5).
In either case, use of these direct meter readings will
return an inaccurate exposure of the subject.

COMPENSATIONS ARE NEEDED
The reason these indicated apertures will create inac-
curate exposures of light or [Continued on page 241]

FIG. 5: A dark-toned subject, scanned directly, will read too low
on meter, calls for less exposure to render dark tone on the film.
From gray-card average, same subject needs Vi a stop more of light.

FIG. 6: On side-lighted subjects, meter should scan half highlight
area, half shadow; use reading as-is for average lighting balance.

FIG. 7: On back-lighted subjects, reading should be made solely on
shadow area — then stop down V* to 1 full stop for effect desired.

224

THE CAPE COD COTTAGE, balanced and beautiful in its design, is
the architectural symbol of the Cape. One above is beyond Brewster.

NAUSET BEACH LIGHT, says the author, is pictorially the best of
these marine beacons, with its red crown, blue sky and green heather.

Cape Cod

is caning

BEGIN BEFORE BREAKFAST, if you want to record a sequence of the
Portugee fishing fleet at Provincetown. Note long shadows from piles.

BENJAMIN B. CROCKER

A LONG the seventy two mile peninsula of Cape Cod
^^k is concentrated more fine filmic material than in
perhaps any other spot in the United States. For
here history, architecture, geology, sports, drama, art and
scenery are all interwoven on a thin strip of land stretch-
ing far out into the Atlantic Ocean.

SELECTION IS NEEDED
But filming Cape Cod presents quite a problem. It is
not so much a matter of finding subjects to shoot as of
eliminating them. Every guidebook is crammed with
names, dates and places that "must" be seen. The guide-
books, however, are inclined toward static objects and
graveyard history; they are not likely to tell enough about
colorful scenes, alive with movement and human interest.
The present article aims to provide just such cinematic
information and thus to implement any one of the many
excellent tour guides to the Cape.

BEGIN AT THE BRIDGES
Any film of Cape Cod might well begin and end at the
Bourne and Sagamore Bridges which cross the Cape Cod
Canal and join the Cape to the mainland. The two bridges
are identical in design, and by entering by one and leaving
by the other an excellent frame for the entire film may
be obtained. The canal itself is worthy of some footage,
especially if an ocean-going steamer should be passing
through.

EN ROUTE TO PROVINCETOWN
Once on the Cape, follow Route 6 which will take you
all the way to Provincetown. Your guidebook will men-
tion many interesting and historic places en route: Old
Sandwich, famous for its glass; Dennis, notable for its
theatre and cinema; Brewster, memorable for its captains'
homes. But you will be wise to refrain from shooting
until you reach Eastham, for there is little on this part
of the Cape that you will not see to better advantage in
Provincetown, Woods Hole or Nantucket. You might,
however, visit Sandy Neck, off Route 6A in West Barn-
stable, and take some atmospheric shots of typical Cape
scenery — scrub pines and sand dunes and the bright blue
ocean. You may also wish to break your trip to Province-
town by shooting a cranberry bog, an old graveyard or
a Cape Cod cottage which you may happen to see as you
drive along your route.

LOOK FOR NAUSET LIGHT
On reaching Eastham, however, keep watch for the
road signs indicating the way to Nauset Beach. This mag-
nificent stretch of sand extends northward in an unbroken
arc for forty miles to Provincetown. Here, where the green
heather ends in a sharp cliff at the blue Atlantic Ocean,
stands a red-coated sentinel: the Nauset Beach Light. It is
the most beautiful light on the Cape, simple, unadorned
and as yet unmarred by the radar skeletons that spoil the

Curving into the Atlantic from the
Massachusetts mainland, Cape Cod is a
treasure trove of history and human interest

symmetrical beauty of so many other lighthouses today.
Although you cannot follow Nauset Beach northward
by car since the road is inland, there are paved roads
leading directly from Route 6 to the beach at Wellfleet.
Truro and North Truro. Any one of these roads will lead
to fine filming opportunities, for the beach is always un-
crowded, the sand is fine and white, the dunes are spec-
tacular and the breakers are magnificent. Shoot here to
your heart's content.

PROVINCETOWN THE PRIZE

When you follow Route 6 far enough, you will come
to the end of the Cape — and Provincetown. Here there is
more to film than in any other single place on the penin-
sula. It's a lively town from morning to night. If you are
up early (seven at the latest), you can catch the Portu-
guese fishermen as they start out for the day's catch. (The
Oldest House in Provincetown will be better lighted in
the afternoon, however.) The artists also will be up early
to catch the morning sun, and you can shoot them setting
up their easels and mixing their paints. A trip to the
beach, out by the airport, may be rewarded by a shot of
an artist painting his model in a natural setting on the
dunes.

If your legs are in good shape, climb the Pilgrim
Monument. It has a continuous ramp instead of stairs,
which sounds easy, but it is a long, long ramp. The bird's
eye view that you can film from the top will be well worth
the effort, however. As the day wanes, be sure to be back
at the Town Pier by four o'clock to take shots of the fish-
ermen unloading the day's catch.

But you cannot hope to cover Provincetown in a single
day. Plan to stay a second or a third day, filming more
as you learn more about the city. Before you leave be
sure to see the tablet at the end of Commercial Street,
which marks the spot where the Pilgrims first landed.

When you are satisfied you have Provincetown in the
can, return along Route 6, bear left when you come to
Route 28 and head for the southern side of the Cape.
Keep your eyes open for atmospheric shots again. Note
how this part of the Cape has been tamed and civilized.
Here are the big summer estates, golf and tennis clubs
and pleasure boat harbors.

BY BOAT TO NANTUCKET

When you reach Hyannis. which is the shopping center
of the Cape, take the day boat to Nantucket Island. This
trip will allow you over three hours on that secluded sanc-
tuary. When you arrive in Nantucket it is not necessary
to take a sightseeing bus, for everything worth filming is
within easy walking distance of the dock. Just stroll up
Main Street, filming the magnificent sea captains' homes
as you go. Your eyes and lens will feast upon a host of
details: panelled doorways, brass knockers, grilled iron-
work, widows' walks, stately columns, cobbled streets,
hitching posts and watering troughs.

Toward the far end of the street you will find the Three
Bricks, a set of beautiful and identical red brick buildings.
Directly opposite the Three Bricks you will find Pleasant
Street, which will lead you to a view of the Old Mill
perched on the hill at your right. Here you will be able
to create a dramatic sequence of an old windmill still
going sturdily about its busi- [Continued on page 236]

225

Photographs by Crocker Films

AN UPWARD ANGLE against the clean blue sky is effective for se-
quence on Provincetown's artists. Seen painting here is Burr Rann.

'Sip •«£

-._&

A WIDE ANGLE LENS, stopped down for bright sunlight, will give
more than enough depth of field for this pleasing two-shot pattern.

THE WEATHER VANES will be back in business on this old Nantucket
windmill throughout the summer. The approach is from Pleasant Street.

226

24 info 30!

By the magic of controlled projection,
here is how 24 f rames-per-second movies
are converted into 30 fps television

JOHN H. BATTISON, ACL

PUUDOWN IN
STANDARD
PROJECTOR

PULLDOWN IN
TELEVISION
PROJECTOR

LIGHT FLASHES
60 PER SECOND

V- 1/24 Second

Pulldown

~1
Pulldown

Pulldown

i | Frame No. 1

Frame No. 2

W/A

FromeNo. 3 MA 1

Pulldown

\M Frame No. 1

Frame No. 2

Frame No. 3 V/A i

1/1000 Second

AT FIRST sight the transmission of motion pic-
i tures by television seems simple; after all,
both television and movies operate through
the principle of persistence of vision. However, as
soon as a little analysis is given to the subject, it
begins to grow more complex. And eventually it
seems to boil down to this: How are 24 frames per second
of film travel converted to the 30 frames per second of
television? To understand this problem, let us discuss for
a few minutes some of the fundamentals of television.

TV PROJECTION SPEED: 30 FPS
As in every national industry, certain standards have to
be established so that what applies in one part of the
country also applies to equipment made and used every-
where else. In the case of television the standards we are
concerned with affect picture repetition rate. The Federal
Communications Commission determined, on the advice
of television engineers, that there should be 30 complete
television pictures — or frames — every second, and that
each frame should consist of 525 lines (these are the hori-
zontal lines which perform the same function as the dots
in a half-tone reproduction).

In order to avoid excessive flicker, due to the compara-
tively low repetition rate, it was decided to break every
frame in half in much the same way as the flicker shutter
in a movie projector doubles the number of flashes of
light from the projector for each frame. This done, we
now have 60 pictures a second on our television screen.
However, a joker comes into the picture. When the num-
ber of flashes was doubled, the number of lines in each
frame was halved, so we now have 60 half-frames — or
fields — of 262.5 lines each in the television picture. But
the net total is still the same; i.e., there are still 30 com-
plete frames per second.

HOW 24 CAN EQUAL 30

If now we take our film projector and project a movie
film at the rate of 24 frames per second into a television
camera operating at 30 frames a second, it is obvious that
something will not work out properly. In fact, we shall
lose 6 frames somewhere! In addition, there will be dis-
tressing conditions of flicker and black bars running
across the screen of the television receiver. Fortunately,
there is a solution to this problem — and it is amazingly
simple.

A projector with a special mechanism was designed.
In addition to the special mechanism, it also has a special
shutter installed behind the film — between it and the
lamp. In operation the film is pulled down by the inter-
mittent in the usual manner; but instead of every frame
being stationary for the same length of time in the gate,
it varies by as much as 50 percent from frame to frame.
Thus, the first frame is held stationary while the special
shutter allows two flashes of light to pass through the film
onto the camera tube in the television film camera. The
next frame is then pulled down, but this time three flashes

1/60 Second

r -i

/750 Second

SCANNING FIELDS
60 PER SECOND

FIG. 1: Synchronizing cycle for television's 2-3 system of film projection. Al-
ternate frames are flashed twice and thrice, for needed 60 flashes a second.

of light pass through the film since it is held still for 50
percent longer than the first time. The third frame is flashed
twice, the fourth frame three times, and so on. In other
words, alternate frames are flashed two and three times
while the film runs at the usual sound film speed of 24
frames per second.

The effect of this is to flash twelve frames twice each
(for 24 flashes), while the alternate twelve frames are
flashed three times each (for 36 flashes) . Adding these
numbers together, we find that we have obtained 60 flashes
in one second. This is exactly the same as the number of
fields obtained in one second with a television picture!
Thus we have accomplished the production of 60 fields
from 24 frames of film without discarding any of the
movie film information. The fact that the viewer sees
some frames for a longer period than others does not
affect the picture, since the eye takes care of this by means
of the persistence-of-vision effect mentioned earlier.

DESIGN OF 2-3 SHUTTER

The special shutter involved consists of a disc with a
small slot cut in its edge. The size of this slot is such that
light falls on the film for only 1/1000 of a second sixty
times per second. In this manner, the camera tube receives
the image during the very brief time that the mosaic
(light-sensitive element of the iconoscope tube) is not
being scanned by the electron beam. However, the mosaic
has a "memory" feature which retains the charges pro-
duced by the light and shadow of the picture until the
next scan picks them off and transforms them to electrical
impulses which are then transmitted.

The system described is known as the 2-3 system, be-
cause alternate frames of film are flashed twice and three
times onto the camera tube. This is the simplest method of
converting movies to television and is the basis for most
of the television film projectors.

PULSING LIGHT REPLACES SHUTTER
A variation of this system employs what is known vari-
ously as a "Synchrolite," or pulsed-light system. This en-
ables the shutter to be eliminated and a pulsing light used
instead. Of course, as readers will know, an ordinary in-
candescent light cannot be used as a pulsing light, since
the time taken for the filament to heat up and cool again
would be too long and the result would be a steady light.
Therefore, a gas-filled discharge tube is used. This is
caused to flash by means of a connection to the synchro-
nizing generator which operates the television camera.
At just the right time the lamp flashes and exposes the
frame to the camera.

Because the flash is so brief, [Continued on page 236]

227

JEAN TOURAND, author of this article, discusses a point of
direction with Andre de Ceris for his film, Surprise Party.

MOVING CAMERA SHOTS are widely popular in French photo-
plays, says the author, with one's club loaning a dolly as needed.

FRANCE REPORTING!

Here are the highlights of French amateur filming — before and after the War

JEAN TOURAND, President, Club des Amateurs Cineastes de France

IN France, there were as elsewhere the early experiments
with motion pictures in the 35mm. and its many allied
film sizes. It was not, however, until the advent of re-
versal film in 1923 and the introduction of the Pathe
9.5mm. system that amateur movies took their first fum-
bling steps.

These steps also were without organized guidance.
Thus, it may safely be said that amateur movies in France
as we know them today did not flower until 1930. In that
year there was established in Paris a magazine called
Cine Amateur. The first in its field, this journal met with
a quick success, and a year later a few members of its
staff and some others organized a group known as the
Club des Amateurs Cineastes de France.

From the first year of its founding, more than 4,000
metres of films were made by club members in different
widths, which at the time were the 9.5mm. and 16mm.
And, we wish to emphasize, these 4,000 metres were not
unedited materials, but real complete films, either of the
scenario or documentary type, complete with titles and.

DR. EDOUARD CHERIGIE is behind the camera during pro-
duction of Le Plus Grand Amour, starring Lise Stribick, left.

in some cases, already able to compare with certain pro-
fessional productions. I do not wish to concentrate too
much on the C.A.C.F., as I am one of its backers. But we
can say, without exaggeration, that it has been the avant
guarde of amateur cinema in France and, perhaps, even
the most important cine club of Europe.

In the matter of national and international competition,
the first French national competition was organized by
the C.A.C.F., and it was a C.A.C.F. film which took the
first prize. At the first international competition, organized
by Belgium, the first prize again was taken by a C.A.C.F.
film.

The following year, with nine nations participating
in the second international competition at Amsterdam,
France again took the first prize, again through the
C.A.C.F. And during the years which followed, both pre-
and post-war, in the great international events at Paris,
Berlin, Barcelona, Stockholm, Prague, Varese and Luxem-
bourg, France, through the C.A.C.F. and another big
club, S.C.A.. always took the first prizes, sometimes with
twenty participating nations.

In 1933, the cinema movement in France gained
markedly, and it was in that year that a National Federa-
tion was created which today numbers nearly 80 clubs,
under the direction of Andre Avalle. Thus, up to war
time the French amateur cinema made extraordinary
strides as regards both the artistic and documentary
points of view. Numerous journalists were already taking
into consideration the amateur cinema as more than a
diversion for Sunday hikers. Even some professional
cinema people were taking interest in the amateur work.
Cinema stars lent their contribution to improve the nir-
merous evenings and different shows which took place.
It is indicative to note that certain amateurs of that
time have since become celebrated film experts, either as
technicians, operators or producers. We shall mention
only Marcel Carne, Jacques Lemare, one of the foremost
present French operators; Jean [Continued on page 236]

Choose with Confidence from This To

e
]

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o

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J

h¥i

WHETHER you're seeking a more advanced
camera to add scope to your own movie mak-
ing ... or helping a movie newcomer choose
a simple and economical "first" camera —
you'll find exactly the right model in this
lineup of Kodak movie cameras. From the su-
perb Cine-Kodak Special II, most versatile of
all 16mm. cameras, to the new low-priced
Brownie Movie Camera — there's a range of

capacity to meet every movie need . . . and
range of price to suit every movie budg
Which model to choose? Look over t
table of features below . . . and talk it ov
with your Kodak dealer. Then make your :
lection with confidence. The cameras are
made by Kodak — a feature that's been impc
tant in every phase of photography since sna
shots were invented.

*Other features include hand cranking, forward and reverse. Masks and built-in mask slot.
Interchangeable 100- and 200-foot film chambers. Variable-opening shutter. Frame counter.

f Finder shows field of 13mm. lens and 38mm. or 40mm. telephotos only.

ed Lineup of Kodak Movie Cameras

— i, .1 . j^js

ACCESSORY LENSES KodakCine Ektanon Lenses: (1) 9mm. //2. 7 (2) 15mm. //2. 7
(3) 13mm. //1. 9 (4) 38mm. //2. 8 (5) 38mm.//2.5 (6) 50mm. //1. 6 (7) 63mm. //2. 7 (8)
102mm. //2. 7 (9) 152mm. //4. 5 Kodak Cine Ektar Lenses: (10) 15mm. //2. 5 (11) 25mm.
//1.9 (12) 25mm. //1. 4 (13) 40mm. //1. 6 (14) 63mm. //2.0 (15) 102mm. //2. 7 (16)
152mm. //4. 5 (17) Kodak Portra Lenses (18) Kodak Vuedar Converter, 13mm. to 9mm.
(Includes kit for converting Reliant finder to show 9mm. field) (19) Kodak Ektar Con-
verter, 25mm. to 15mm.

Note: Except on the Cine-Kodak Special II Camera,
which accepts lenses directly, Kodak Cine accessory
lenses are attached by Kodak Cine Lens Adapt-
ers. The Type M Adapter fits lenses to the Cine-
Kodak Royal Magazine Camera and to both models
of the Cine-Kodak Magazine 8 Camera. The Type D

Adapter fits lenses to both Reliant Cameras. Lens
(1), however, can be applied directly— without
adapter — to the Magazine 8 Cameras, lens (11) can
be obtained in mount for direct application to these
cameras, and lenses (3) and (4) can be applied di-
rectly to the Reliant Cameras.

i!060.00

$57.50
to

$80.00

2, 6, 7, 8, 9,
10, 12, 13, 14,
15, 16, 17

9'/2

$ 960.00

$57.50

to
$80.00

2, 6, 7, 8, 9,
10, 12, 13, 14,
15, 16, 17

$ 181.00

$ 6.75

or
$14.50

1, 5, 6, 7, 11,
12, 13, 14, 17

2'/2

$ 155.00

$ 6.75

or
$27.50

I, 3, 5, 6, 7,

II, 12, 13, 14,
17, 18, t

2'/2

$ 127.50

$ 6.75

or
$27.50

4, 5, 6, 7, 11,
12, 13, 14, 17,

18, t

$ 105.00

$ 6.75

or
$27.50

3, 4, 5, 6, 7,
11, 12, 13, 14,
17, 18, t

$ 84.50

$ 6.75

or
$27.50

$ 44.50

$ 3.40

Prices include Federal Tax uhere applicable and are subject to change without
notice. Consult your dealer.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

0)(QMllk

TRADE-MARK

Choose with Confidence from This Talented Lineup of Kodak Movie Cameras

capacity to meet every movie need ... and a
range of price to suit every movie budget.
Which model to choose? Look over the
table of features below . . . and talk it over
with your Kodak dealer. Then make your se-
lection with confidence. The cameras are all I
made by Kodak — a feature that's been impor-
tant in every phase of photography since snap.
shots were invented.

r~1l

fllofl,,,, ,, " 4-5 *■"'«* C»« Ettar Lenses: (10) 15mm.//2 5 (111 2Smn,

L^TJ^Tl 40mm-/n-6 <i4> «-■//« (-) .SIS."™

(.nc,ude^ ^ ^i:t: °s) ?— ^ °™ -- * »-

■*«»■, 25,„„, ,0 ,5„„„ 8 el'i"U find" to show 9m">- ^W) (19) W,* »,„,. c„„.

whkh "" T "" C'-'-K'lak Special U Camera

ers 1 he Type M Adapicr fits lenses ,„ ,he Ci„e
Kodak R„, al Maga*ine < amer, ,„ 1 L c ,
ofiheCin,. k- 1 r""u,-",u™ andioboih models
"" C,"e-k<"l«k Masarine 8 Camera. The Type D

Adapter lies lenses [o hail, Keliani Cameras Lens
(1). however, can be applied dircctly-,vi,l,„„,
•daptcr-Io the Masnime 8 Camera,, lens (111 can
be obl.lned in »»,„, f„r dire,, .,ppl„a,i„„ ,„ ,„c,c
cameras, and enses (3) and (1) can be applied di.
recily lo ihe Keliani Cameras.

•Other leotgrei include hond eronking, forword and reverse. Masks and built-in mask slot.
Interchangeable 100- and 200-foot film chamber,. Variable-opening shutter. Frame counter.

tFinder shows field of 13mm. lens and 38mm. or 40mm. telephotos only.

Prices include federal Tax where applicable and are subject 10 change without
notice. Consult your dealer.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

230

THE CHAOS JUMBLES, left, a multimillion jigsaw puzzle of igneous rock
slabs, is thought to have tumbled from the volcanic Chaos Crags in rear.
Mount Lassen, above, is mirrored in waters of Manzanita Lake.

LET'S LOOK AT LASSEN!

At the southernmost end of the volcanic Cascade Range is California's little Yellowstone

FELIX ZELENKA

THE MOST recent active volcano in the continental
United States may be filmed in Northern California's
Lassen Volcanic National Park. Lassen Peak, from
which the park derived its name, was, but a few short
years ago, a terrifying cauldron of belching smoke and
rock. Today, this mountain, one of the celebrated peaks
of the restless Cascade Range, seemingly sleeps in a state
of quiescence. There is, however, still ample evidence that
the lava beneath the surface has not yet entirely cooled.

A VACATIONLAND FOR FILMING
Although Lassen Peak originally attracted much scien-
tific and popular interest to this region, the park sur-
rounding it has many other attractions to offer the visit-
ing filmer and vacationer. For, except for the high moun-
tain peaks and recent lava flows, this is a land of beauti-
ful evergreen forests, dotted with many fishing lakes and
streams and interposed with campsites, foot trails and
bridle paths in every direction.

PARK SEASON AND LOCATION

While an effort is made to keep some sections of the
park open throughout the year, for winter sport enthu-
siasts as well as summer vacationers, the most popular
season begins in June. The Lassen Peak Highway is open
to public travel from then until the middle of October,
depending, of course, on prevailing weather conditions in
the high country.

Located some 275 miles northeast of San Francisco and
about 150 miles south of the Oregon border, all approach
roads to Lassen are in excellent condition. Traveling
north or south over U.S. Highway 99, an eastward turn
at Redding via State Highway 44 will lead you to the
Manzanita Lake entrance. Traveling south from Oregon
via U. S. Highway 299, another popular approach to the
park, one may take State Highway 89 south to this same

entrance or westward, from Susanville over State High-
way 36 and 89, to the Raker Memorial Gateway at the
southwest boundary.

THE MANZANITA LAKE ENTRANCE
For the sake of clarification, let us assume your visit
will begin at the Manzanita Lake entrance. At 3/10 of
a mile before the Manzanita Lake checking station is the
northwest park boundary where a sign is displayed that
may be used as your main title. At the ranger checking
station film your opening scenes. Here a one dollar au-
tomobile permit fee is required and any and all firearms
must be declared and sealed.

At Manzanita Lake, Lassen Peak reflects across the
clear waters to create an attractive first view of this vol-
canic mountain. One effective shot is to begin your scene
in the rippling reflection on the lake and to pan slowly
up to the peak itself, majestically towering above the
evergreen-lined lake shore.

Located near the lake is the Mae Loomis Memorial
Museum, the Manzanita Lake Lodge, a post office, service
station, general store and photographic shop where scenic
photos and film may be purchased. Modern cottages also
are available, but during the summer season prospective
guests should apply in advance for reservations. Address
all communications to Lassen National Park Company,
Manzanita Lake, Calif.

A ONE-DAY TRIP

To appreciate Lassen Park fully, it is advisable to plan
a stay of at least a few days. However, since some may not
be fortunate enough to extend their visit beyond one day,
the following suggestions for a 30 mile filming tour over
the Lassen Peak Highway may be helpful.

Zeroing in our speedometer, we found that at 2.2
miles beyond Manzanita Lake the road passes near Chaos

231

Photographs by Felix and Nikki Zelenka

THE SULPHUR WORKS, with its steam vents, mud pots and
boilers, is a reminder that volcanic Mount Lassen is still alive.

Crags and over Chaos Jumbles. This is the most spectac-
ular evidence of turbulent disorder to be found in the
entire region. Over a wide area the surface of the land
is covered in wild confusion with angular white stones.
There is fascinating geologic history back of this phenom-
enon. For the scientists tell us that the Chaos Crags, old
lava plugs which pushed their way up a few hundred
years ago, one day rose too high and broke off to aval-
anche down and form the Jumbles.

At 7.2 miles is "Hot Rock." This is a 300 ton black
boulder that roared down the mountainside from the
summit crater of Lassen Peak on May 19, 1915. A sign
informs the visitor that this huge chunk of lava destroyed
all in its path and set fires to logs as it rolled down to its
final resting place. For several days the boulder remained
hot, hence the name Hot Rock.

CONTINUING THE TOUR

The devastated area at 9.7 miles is a region that was
extensively denuded of all vegetation by a hot blast and
melting snow and mud flows from the May 1915 eruptions
of Lassen Peak. At this time, so terrific was the outburst
that trees three miles away were felled uniformly in the
path of the blast. On the slopes at each side of the road
once stood a heavy forest. Today, young trees, some
f hardly taller than a man, have begun a natural reforesta-
tion program, growing alongside the remains of the de-
caying timber of yesteryear.

Summit Lake, 2% miles further along our tour, pro-
vides an excellent campground on the banks of a tim-
bered body of water. Here fishing is popular and some
of the 109 miles of trails within the park lead off to points
of interest. At an elevation of 7400 feet, for example, is
scenic Kings Creek Meadows, a lush, green land in a
valley of rippling streams and marshes where another
free public campground is located.

Reading our speedometer at 21.5 miles from the begin-
ning of our tour, we reach the summit of the highway,
at an elevation of 8512 feet. [Continued on page 242]

DUCKS AND DUDES gambol together in Hat Lake, a shallow and sun-
warmed pool fed by Hat Creek in the devastated area of Lassen Park.

THE HOT ROCK, once 300 tons of glowing lava, roared down Mount
Lassen in the eruption of May 19, 1915. Sign makes a good subtitle.

VENTS AND FISSURES along Bumpas Hell trail are other evidence of
volcanic violence. The 1.3 mile route takes 2V2 hours for round trip.

232

THE REPRODUCTION OF SOUND: 3

In which the basic characteristics of amplifiers and speakers are discussed and analyzed

GERARD SCHOENWALD, ACL

THE purpose of an amplifier is to bring the signal gen-
erated in the various sound pickup devices to such a
level as to provide enough power to drive a loud-
speaker. Let's assume that you are in the market for a good
amplifier and are going through a specification sheet de-
scribing the equipment. You might wonder what these
various specifications mean. So let us pick out a typical
amplifier "spec" sheet and use it as a guide for step-by-
step analysis and comment.

ALL TRIODE AMPLIFIER
The fact that an amplifier is built with triode tubes or
beam power tubes is a subject that we can leave to the
engineers. Very few ears even among them will recognize
the sound of triode or beam power amplification. So don't
worry. It sounds impressive but really does not mean a
thing.

FREQUENCY RESPONSE

The frequency response of an amplifier is quite another
story. Here the spec sheet claims "within ±0.25 db 20-
30,000 cps," thus offering a top frequency range which
can be of the greatest importance to good sound reproduc-
tion. It should be noted, however, that a mere extension
of frequency response, without regard to increased distor-
tions, is not of value per se. Frequency response must
always go hand in hand with distortion control to make
any real contribution to good audio.

It should be noted also that the manufacturer of this
high frequency amplifier goes beyond our hearing range
(16,000 cps) in his design. This is based on a theory
advanced by some acoustic engineers that higher har-
monics may beat and form new overtones in the super-
sonic frequency range. These beat tones again beat and
produce lower harmonics that we may hear, or which at
least affect the tonal quality. For example, when a tone
of 100 cps is played simultaneously with another one of
130 cps, they form harmonics of 230 cps and 30 cps.
Pretty much the same can happen in the supersonic range,
it is argued. How much of this theory is proven I do not
know. But it is true that many high quality amplifiers
today have a supersonic frequency range.

As for the "±0.25 db" reference, this means that the
amplifier's frequency response curve is held flat within
0.25 db, or that at no point within 20-30,000 cps is there
a peak or dip in the curve of more than 0.25 db. This is
a very good achievement in any amplifier.

POWER OUTPUT

Under this heading the specification sheet says: "Less
than 2% total distortion at 20 watts. Peak power 30
watts." Let us see what this means . . .

The specification of distortions is closely linked to the
frequency response and power rating of an amplifier. If
the percentage of distortions is too high, the extended
frequency response is of no use, mainly because of the
fact that distortions become more noticeable and disturb-
ing in the higher range. While 5% of harmonic distor-
tions is generally not noticed by an average untrained
listener, 2 to 3% will be perceptible to a trained ear. The

amplifier under study is said to deliver less than 2%
total distortions at 20 watts, although its peak power is
even more, 30 watts. If this amplifier keeps distortions
down to 2% at 20 watts, there is a good chance that they
will be even lower at less power.

There was a time when high-power amplifiers were
fashionable. Now that this dust has settled, a 10 watt
amplifier is considered as wholly sufficient for home use.
More stress is given now to making good use of this
lesser power by means of an efficient speaker unit.

Sometimes amplifiers are rated in percentage of inter-
modulation distortions. 10% of IM distortions is con-
sidered as satisfactory, but high quality amplifiers should
not have more than 7 to 8%. The transient response of an
amplifier is never indicated in the specifications. It is,
however, that certain quality which makes two amplifiers
of different design but the same specifications sound dif-
ferent in an A-B test. Once you are ready to step into this
class, you will have to make your own choice in an A-B
test at your dealer.

SIX INPUTS

The six-channel input to the pre-amplifier makes this
equipment adaptable to almost any installation. Channel 1
is a high-level magnetic input equalized for a Pickering
phono cartridge or its equal; Channel 2 is a low-level
magnetic input balanced for a GE variable reluctance
pickup or its equal.

Channel 3 accommodates a crystal pickup, while No. 4
accepts a high impedance microphone. Channels 5 and 6
are for radio — the first for low level, such as a detector
output, the second for high level, such as first audio
output.

REMOTE CONTROLS

Under this heading the specifications are as follows:
"Pre-amplifier — selector switch; 5 phono positions and
2 radio positions; compensated volume control; bass con-
trol; treble control. Amplifier — AC switch; master gain
control; provision for remote AC switch."

Of these many items, probably those in the pre-ampli-
fier stage are the more important to good sound reproduc-
tion. The 5 phono positions, for example, provide for an
equalization of sound signals coming from such varied
recording techniques as the European, standard, long-
playing, etc. The 2 radio positions accommodate low level
and high level outputs, while the volume control compen-
sates for the fact that a sound system balanced for a
normal listening level sounds too weak in the bass and
treble when the reproducing level is lowered. This so-
called Fletcher-Munson effect compensation is rapidly
becoming more popular.

HUM LEVEL
—80 db below rated output. This rating is excellent,
especially since this includes a pre-amplifier.

OUTPUT IMPEDANCE
4, 8, 16 ohms. Speakers of either 4, 8 or 16 ohms im-
pedance can be used with this amplifier.

233

FIG. 1: Basic design cf a loudspeaker is
seen at left. Movable cone, C, is vibrated
by action of amplifier signal on voice
coil V-V, interacting with magnet, S-S-N.

\ t

FIG. 2: Principle of the acoustic labyrinth
is diagrammed at right. Sound path from top
to bottom equals half the wave length of
chosen low frequency, thus reinforcing these
waves.

i J/W>//i)// ///>>/ >/// // /////////

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ll '

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— 1

FIG. 3: A corner-cabinet speaker combines labyrinth and room walls to extend
radiation. Cabinet design is by University Loudspeakers, Inc.

FIG. 4: Co-axial speaker houses double row of
tweeter horns in center of 15" woofer cone.

NET PRICE
It seems to be an unwritten law that the manufacturers
in this line set theoretical list prices and the dealers list
their products at lower net prices. This does not apply to
tape recorders, however. At today's prices, I found it
advisable to spend twice as much for a speaker than for
an amplifier of comparable quality. Prices for amplifiers
with built-in or separate pre-amplifiers are: Class 1, over
$200; Class 2, $100 to $200, with the unit under discus-
sion listed at about $150; Class 3, $40 to $100.

LOUDSPEAKERS

The most neglected and perhaps also the most impor-
tant part of a sound system is the loudspeaker, or speaker
for short. It is placed at the end of the complex series of
interlocking operations which began with the impinge-
ment of sound waves on the sensitive diaphragm of a
microphone. From that point onward in the chain of sound
reproduction we have seen how the microphone trans-
forms these sound waves into electrical impulses, how
these impulses are equalized and at last heightened in
electrical power by the amplifier. It is these heightened
electrical signals which the loudspeaker receives, and it is
the speaker's function to transform them once again into
audible sound vibrations. It performs that magic in the
following manner. (See Fig. 1.)

A permanent magnet forms two south poles S and one
north pole N. The gap between the two poles is kept as
small as possible so that a strong magnetic field can de-
velop between them. The end of the speaker cone fits in this

gap together with the voice coil V-V wound around it. The
voice coil is connected to the output of an amplifier. When
an alternating current is flowing through the voice coil,
another magnetic field of constantly changing polarity is
set up around the coil. Since the coil is firmly attached
to the cone, both are moved back and forth in the gap in
direction X-X' in the same pulsations at which the signal
is fed into the coil. The cone of the speaker, which is the
vibrating unit, is given a chance to bend at the corruga-
tions, C-C, and thus launches into the air the pulsating
waves which, to the ear, become audible sound.

For efficient sound reproduction, however, we have to
couple the speaker to the surrounding air acoustically.
Suppose that we feed a 1000 cycle tone into our sound
system and mount the speaker in a circular baffle 21/o feet
in diameter, with a hole cut for the speaker. Since the
speed of sound in dry air is 1.088 feet per second, each
cycle of our sound has a wave length of about 1 foot.
Thus, as the speaker cone moves from a neutral position
forward and backward to make one cycle of the 1000 cps,
the sound waves are reflected at the baffle and reinforce
the sound towards the front.

However, if we change over to a 100 cycle tone, where
the wave length is 10 feet, we find that when the speaker
cone is in its most forward position, having accomplished
}4 of a cycle, the sound has traveled %. of 10 feet, or 2%
feet. It can, under such circumstances go around the
baffle and cancel the rarefaction at the back of the speaker
completely, with the result that no sound is heard. Al-
though these cancellations are [Continued on page 237]

234

The Auricon
Super-1200

Berndt-Bach announces a new single-system
sound camera, featuring three viewfinders
and a wide range of lens accommodation

THE NEW AURICON SUPER-1200 16mm. sound on
film camera, built in Hollywood by Berndt-Bach,
Incorporated, provides every operating convenience
for the 16mm. professional photographer. It produces a
rock-steady picture and a high fidelity sound track with
a minimum of time and effort on the part of the camera-
man. To do this, three separate finder systems of unique
design are combined in this self-blimped Super-1200
camera, which runs so quietly it requires no external
blimp even for studio operation.

THE REFLEX FINDER

Super-1200 Finder No. 1 is an instant ground-glass
focusing reflex finder, with lOx focusing telescope, which
allows the cameraman to check through his camera lens
for picture composition and focus. This new feather-
light focusing system can be operated with the touch of
one finger, because the camera body, lens turret and film
gate are not shifted during focusing. Nothing moves ex-
cept a miniature precision prism-reflector system inside
the camera between the film gate and the camera lens.
This means that with the camera tripod on soft ground
(especially with long-range telephoto lenses) there is no
danger of disturbing the picture composition by inad-
vertently moving the camera position while shifting from
"focus" to "shooting."

It also is possible to use the Super-1200 reflex focus
system while the camera is running to check for camera
and projector shutter synchronism during background-
projection scenes; also for TV kinescope recording, or
other special effects work.

THE STUDIO FINDER
Super-1200 Finder No. 2 is of the studio type which
provides a brilliant ground-glass image, upright and cor-
rect right to left. As this finder is focused, automatic ad-
justment is made for parallax and the image can be
viewed with both eyes from any position behind the
camera.

THE TURRET-TELEPHOTO FINDER
Finder No. 3 is a special telephoto finder which oper-
ates with a set of miniature lenses mounted in the center
of the camera turret, between the "C" mount lenses used
for shooting the picture. The lOx focusing telescope which
is used with the ground-glass reflex focusing finder is
also employed as part of the optical system for this tele-
photo finder. Each "C" mount picture lens mounted on
the turret is matched with a miniature lens of the same
focal length, mounted in the finder system, so that during
sporting events or wherever telephoto lenses are employed,
the finder always shows a brilliant, upright and enlarged
picture corresponding to the image being photographed
on the film. Lenses from the 17mm. wide angle up to a

AURICON SUPER-1200, deluxe single-system sound camera by
Berndt-Bach, Inc., offers self-blimping and three viewfinders.

12 inch telephoto can be used in conjunction with this
new Super-1200 telephoto finder system, providing a con-
venience never before available to the 16mm. cameraman.

SELF-BLIMPED TO SILENCE
Another unique feature of the Auricon Super-1200
camera is its completely quiet operation. It is self-blimped
and truly noiseless, so much so that large red indicator
lights are provided at the front and rear of the unit to
signal the fact that the camera is running. A smaller
neon signal light is also found at the back of the camera
to indicate that line voltage is "on." This enables the
cameraman to check his line voltage to the motor when
the camera is not running.

CAMERA OPERATION FEATURES

A 115 volt, 60 cycle AC synchronous motor normally
operates the Super-1200 camera at the standard sound
speed of 24 frames per second, although a 115 volt, 50
cycle motor is also available. Other Super-1200 motors
can be furnished for single-frame animation work, for
variable speeds, or for battery operation. The synchro-
nous motor normally provided is ideal for single-system
sound recording or for pictures to be synchronized with
double-system sound on film or magnetic tape systems.

A geared Veeder-Root footage and frame counter is
located on the rear control panel of the Super-1200
camera. An adjustable shutter is also provided for making
fades, dissolves or adjusting the camera exposure from
1/50 of a second up to 1/200 of a second. The shutter
can be locked in any desired position.

The Super-1200 camera comes equipped with a 1200
foot film magazine, providing up to 33 minutes of con-
tinuous 24-frame shooting. This, then, is the ideal camera
for shooting half hour television programs or for kine-
scope recording work. Also available are 400 foot maga-
zines holding 11 minutes of [Continued on page 238]

MOVIE MAKERS

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

In Panorama Packed with ideas

for summer movie
making, the Vacation issue of Pan-
orama, Bell & Howell's attractive quar-
terly for the amateur, is now at your
photo dealer's. Of especial interest to
League members will be the account by
Lester F. Shaal, ACL, on how he pro-
duced his 1950 Honorable Mention
winner, New England Frames, solely
by re-editing and retitling existing vaca-
tion footage.

16 sound editor A 16mm dou

ble - system edi-
tor, for editing picture film and sound
track, is now being produced by M. W.
Palmer, 468 Riverside Drive, New York
27, N. Y.

Separate film channels — one for the
sound and one for the picture — may
be controlled separately or interlocked
so that both films run in synchrony. A
composite sound print may be run by
threading it through both picture and
sound heads, which are spaced to give
the correct distance between picture
and sound. The machine is also equip-
ped to pick up sound recordings from
16mm. perforated magnetic tape.

Aid in editing TiPs and Tricks

on Movie Editing,
an attractively illustrated 16 page book-
let now in its second edition, is once
again being offered to interested ama-
teurs by Craig, Inc., a division of The
Kalart Company. Interlocking its les-
sons with the well known line of Craig
splicers and Projecto-editors, the book-
let is packed with pointers on how to
transform loosely connected scenes into
story-telling movies.

A complimentary copy awaits your
request to Dept. CM-8, Craig, Inc., The
Kalart Company, Inc., Plainville, Conn.

E. K. elects Re-elected at the re-
cent annual stockhold-
ers' meeting of the Eastman Kodak
Company were these directors of the
company: Thomas J. Hargrave, Kodak
president; Adolph Stuber, ACL, Kodak
vice president in charge of sales and
advertising; Paul A. Achilles, vice
chairman of the Psychological Corpora-
tion of New York.

New to Kodak's board of directors
is Frederick C. Crawford, president of
Thompson Products, Inc., in Cleveland,
and a dynamic leader in business as-

235

sociations on the national level. Mr.
Crawford fills the vacancy left by the
death early in May of James Sibley
Watson, of Rochester, an EK director
for forty-two years. Mr. Watson was
the father of Dr. J. Sibley Watson,
FACL, amateur producer of The Fall
of the House of Usher.

Radiant appoints Seymour Jacob
of Radiant Man-
ufacturing Corporation, manufacturers
of projection screens, has been named
government sales coordinator, accord-
ing to a statement by Harry E. Eller,
Radiant's president. Mr. Jacob is now
in charge of government sales for Ra-
diant, which has received several con-
tracts from the U. S. Navy and Air
Materiel Command.

The company also announces the
appointment of Donald R. Goldsmith
as Midwest district manager for Radi-
ant screens.

8mm. Ansco Color Ansco Color

motion pic-
ture film, available since 1944 in 100
foot rolls of 16mm. Daylight and
Tungsten Type emulsions, is now be-
ing offered in the 8mm. size in 25 foot,

ANSCO COLOR in 8mm. magazines is the good
news from Binghamton for 8mm. home filmers.

double-8 magazines of Daylight film
only.

Coincident with this important an-
nouncement to 8mm. filmers, Ansco, of
Binghamton, N. Y., also has released
its 16mm. Daylight emulsion in the
magazine format. List prices for these
two new magazine units (with tax and
processing included) are $4.50 in the
8mm. width, $6.75 for the 16mm. size.

The Tungsten Type Ansco Color, in
both 8mm. and 16mm. magazines, will
be added at a later date, says the com-
pany.

Willoughby dies Charles G. Wil-
1 o u g h b y ,
founder and chairman of the board of
Willoughby Camera Stores, Inc., in
New York City, died early last month
at eighty-four.

Mr. Willoughby, a camera enthusi-
ast from boyhood, channeled his hobby
into the development of what became
known as the world's largest camera

BELL & HOWELL personnel and Air Force in-
spector check last of 700 Filmosound projec-
tors going to Forces in three freight cars.

store. The present establishment occu-
pies eight floors and runs south through
the block from 110 West 32nd Street
to West 31st Street.

Victor adds Samuel G. Rose,
president of the
newly reorganized Victor Animato-
graph Corporation, at Davenport, Iowa,
announced last month that arrange-
ments had been completed to employ
the facilities of Motiograph, Inc., in
Chicago, for the production of Victor
16mm. sound projection equipment.
Victor's administrative, sales and serv-
ice offices will remain in Davenport,
where they will be centralized in the
Davenport Bank Building.

Haldion A new film company, Hal-
dion Films, Inc., has been
formed for the distribution of 16mm.
entertainment feature films. Harold
Baumstone is president, with Dion Hof-
farth vicepresident. Exclusive 16mm.
rights have been obtained for fifty one
pictures, including Westerns. Prints will
be leased to film libraries and dealers
for non-theatrical distribution. Further
information may be had from Haldion
Films, Inc., 516 Fifth Avenue, New
York City.

New color film Plenacolor, a neg-
ative-colored still
film for amateur use, will be available
this summer in increasing quantities
from Ansco, of Binghamton, N. Y. First
releases will be in the 120 and 620 roll
film sizes, at $1.45 per roll, tax and
negative development included. Indi-
vidual, standard-sized color prints are
offered on order at 36 cents each.
Plenacolor is speed-rated at ASA 25, or
for an exposure of 1/50 of a second at
//ll in bright sunlight.

236

JULY 1951

France reporting!

[Continued from page 227]

Cocteau, who also was a cinema ama-
teur; Louis Cuni. another producer;
Rene Clement, producer of The Strug-
gle of the Rail, Alain Pol. Pierre Boyer
and many others whose names I do not
recall.

The French amateur has tried above
all to give to his realizations a personal
touch. Thus he has never failed to cre-
ate interesting productions and. in
some cases, films which were strongly
criticized. But we firmly believe here in
France that this freedom of expression,
which everyone sought to experience,
was one of the principal factors of our
success.

The years 1939 through 1944, of
course, brought an abrupt end to all
amateur filming efforts. But with the
liberation a strong feeling of enthusi-
asm sprung up again. The clubs were
reopened. New members enrolled with
the older ones, and there was enthusi-
astic exchange of ideas from group to
group. In fact, it may be said that this
period was the beginning of a new de-
velopment which surpassed totally the
pre-war period, both in individual and
organized efforts.

We will now devote a few lines to the
films properly speaking and to the tech-
nical means used in their production.
Most of the films which we realize are
made individually, with the producer
calling upon friends and members of
the club to which he belongs for co-
operation. Generally the producer
makes films according to a scenario
which is his own ; but he does not, how-
ever, refuse to adapt certain classical
authors, or contemporaneous writers.

Technically, the width of film which
meets the greatest favor, as regards the
important productions (and also the
greatest success in competitions) is the
16mm. film. Lighting units, barring the
inevitable photoflood lamps, are com-
posed of sunlight or spotlights of 500
watts. The camera truck, or dolhr, is
widely popular in French filming and is
constantly on loan from a club to its
producing members.

As regards the sound part, all our
films are entirely sonorized, most of
them with records, a few with magnetic
bands or sound tracks on the film, as it
is now quite out of the question to
neglect the sound recording of our pro-
ductions.

It would be imposing too much on the
foreign reader for us to give a list of
the outstanding films or celebrated pro-
ducers in France and in Europe. Be-
sides, we believe that the best way of
making our cinema known, if it is
deemed worthy of interest, is to organ-
ize with our American cinema friends a
system of film exchange, which would
enable us to get an idea of the amateur

status in the United States, with which
we are not quite familiar and which
would benefit us greatly.

This exchange system of films, which
we have practiced already for a long
time in Europe, has enabled us to bet-
ter understand what is going on in for-
eign countries, and particularly to feel
the trend of the different countries pro-
ducing these films.

We would sincerely appreciate it if
it were possible (and we believe it is)
that the same exchange be practiced,
through your Amateur Cinema League,
with American amateurs. It would be
an occasion to yet better understand
one another.

24 into 30!

[Continued from page 226]

not very much light (quantitatively) is
produced, so that the system is useful
only for television operation and could
not be applied to movie projection. In
fact, on some of the earlier models the
light was insufficient for very dense
film prints. But, of course, films in-
tended for television use should not be
dense; they should be two or three
points lighter on the contrast scale than
those for theatre projection.

Fig. 1 shows how the timing of these
light pulses is obtained and the corre-
lation between the pulses and television
fields. It is taken from the author's
book Movies for TV, and was originally
reproduced by courtesy of the Radio

Corporation of America. Fig. 2 shows a
typical television projector of the 2-3
pulldown type.

NO LENS IN TV CAMERA

The camera used to pick up film pic-
tures for television is quite interesting
inasmuch as it does not employ a lens
system. The film in the projector is
focused directly onto the mosaic of the
camera tube. This produces a bright
sharp picture and avoids the expense
of an additional and costly camera lens.
In external appearance the film pickup
camera is a rectangular box with an
opening at one end about 5 inches
square. The light beam from the pro-
jector passes through this and is
focused onto the mosaic.

One of the problems of reproducing
movies over television is that of elimi-
nating "spurious emissions," due to
some of the peculiar characteristics of
the iconoscope tube. A camera control
panel is provided at which the shading
technician sits. He has a set of controls
which are used to eliminate the white
clouds which sometimes float over the
screen when the scene is very dark. If
the picture is very dense on the right
hand side, the impact of the electron
beam running off the dark area onto
the blank is sufficient to produce this
well-known white cloud which often im-
pairs shots taken under night condi-
tions. This is why this type of scene is
not recommended for television use.

Cape Cod is calling

[Continued from page 225]

ness. In the time you have left you may
wish to see the Oldest House (it's a
beautiful dove-gray saltbox) or spend
a few minutes in the Whaling Museum.

WOODS HOLE WILL END IT
After you return from Nantucket,
your next stop might well be Woods
Hole, which is the most photogenic port
on the Cape. Here are deep-sea vessels,
large yachts — everything that floats
from a dinghy on up. By walking around
the town you can soon find the angles
and views worth filming. With Prov-
incetown opening your picture and
Woods Hole closing it, you will have
the best of Cape Cod between cinematic
covers. And now, in resume:

FIG. 2: Typical TV projector is this RCA Model
TP-16. Equipment in base synchronizes projec-
tor motor with television generator system.

SUBJECT
Art colony
Beach: deserted

Beach : populated

Captains' homes
Dunes

Fishermen

Harbor

Lighthouse

Windmill

LOCATED AT
Provincetown
Nauset Beach to

Provincetown
Silver Beach, near

Falmouth
Main Street, Nantucket
Sandy Neck, West

Barnstable
Provincetown
Woods Hole
Nauset Beach Light,

near Eastham
Old Mill, Nantucket

MOVIE MAKERS

The reproduction
of sound: 3

[Continued from page 233]

never complete, they do decrease the
bass response considerably.

SPEAKER CABINETS
There are many more problems in-
volved in speaker design and air cou-
pling which partly counteract this
frequency drop in the bass. Cabinet de-
signs take advantage of these facts in
order to flatten the response curve. The
well known open back cabinet acts like
a baffle. However, due to resonance of
the cabinet itself and the air in it, there
is usually a peak somewhere around
200 cps which causes an undersirable
boominess so common to juke boxes
and commercial radio sets. When a
baffle is extended to unusually large
proportions, we call it an infinite baffle.
This is the case when a speaker is
mounted in a wall.

The next step would be to close a
cabinet completely, which produces re-
sults similar to the infinite baffle. Un-
fortunately, the enclosed air stiffens the
moving cone system. To reduce the re-
sulting distortions, these cabinets would
have to be of such a size that they be-
come impractical.

The acoustic labyrinth as shown in

Fig. 2 gives better performance and re-
quires less space. This design takes ad-
vantage of the fact that a speaker radi-
ates power both to the front and the
back. By making the labyrinth path
half the length of a chosen low fre-
quency, the power that is radiated into
the back emerges at the opening in
front 180° shifted, thus reinforcing that
particular frequency. Corner cabinets
like the one shown in Fig. 3 make clever
use of the labyrinth as well as the
room walls for extension of the radia-
tion surface. The very popular base re-
flex cabinet is also a phase inverter.
The small porthole underneath the
speaker serves the same purpose as the
opening of an acoustic labyrinth if
proper dimensions of the cabinet and
porthole are chosen.

TWO-WAY SPEAKER SYSTEMS

However, since each unit must be de-
signed for a specific job, it has been
found impractical to use a single speak-
er for an extended bass and high fre-
quency range — if the distortions are to
be kept low. One solution is to use a
larger cone speaker for the lower range
and a smaller speaker for the high fre-
quency (HF) range, feeding to each
unit only the frequency range for which
it is designed. A cross-over network
separates the signal coming from the
amplifier and feeds each frequency
range to the appropriate speaker.

237

Naturally, there is a certain range on
each side of the cross-over point
(around 800 cps for home use) which
is reproduced by both speakers. This
overlapping should be as smooth as a
good lap dissolve on the screen. To that
end, the two speakers should be in the
same plane and not too much separated
from each other, otherwise the listener
may detect the two sound sources.

Usually the HF speaker is not shaped
as a paper cone but rather as a metal
horn. For putting a horn of a certain
design (exponentially curved, that is)
in front of a vibrating diaphragm has
the effect of coupling the diaphragm to
the air very much as this is done in any
brass instrument. And the longer the
horn, the lower the frequency which
can be reproduced. However, practical
considerations restrict the length of HF
horns — which are often referred to as
"tweeters" while the LF cone speaker
is called the "woofer."

CO-AXIAL LOUDSPEAKERS
The same space requirements have
led to a speaker system even more com-
pact and cheaper than the two-way
unit. This is the so-called co-axial
speaker, which is still truly a two-way
system if two voice coils are employed
to drive the respective speaker parts.
Such a co-axial speaker is shown in
Fig. 4. Here the tweeter (a double row
of horn cells) is placed in the center of

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238

JULY 1951

at your dealer now!

the amazing new

Marvelously compact— professional in
performance. Unique double lens
' slide" turret with automatic mag-
nifying compensation in viewfinder.
8 to 04 frames per second. Single
frame exposure; film return for fade-
ins fade-outs, etc. 11 foot run with
automatic cut-off. Eye level, waist
level and right angle viewfinders.
Made by famed Niezoldi & Kramer
works of Munich, Germany. See it!

wth™£tr/l-9 $159.00

nhodr.eockF/1-5 $219.00

fair traded, fed. tax incl.

For booklet and nearest dealar, write Dept. N-6

ERCONA CAMERA CORP.

527 Fifth Ave., New York 17, N. Y.

10 +10+10 + 10 + 10 + 10 +

Perspiration stains can ruin films!

When you edit movies this summer be sure

to use the smooth, absorbent

TENPLUS GLOVES

Only $1.98 a pair, postpaid if prepaid.

Available in Small. Medium or Large.

Satisfaction guaranteed. Write for free folder.

THE TENPLUS COMPANY
43L GARDEN DRIVE ROSELLE, N. J.

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PRESENTING-THE-BEAUTYDEARS

Outstanding beauties of leading New York theatres
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Send for Beautiful Color Catalog
SOUND & SILENT — 8 & 16 MM.

BEAUTY EN MOTION PROD.

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NEW YORK 23, N. Y.

You Got a Ten Best Film?

See contest rules on inside
front csver

Plan now to enter your film in this
oldest of amateur movie contests

CKISWOLV

FILM SPLICERS

for every size and type of film,
sound and silent, perforated and
non-perforated, write for details

GRISWOLD MACHINE WORKS

Dep't A, Port Jefferson, N. Y.

the woofer, which is usually a 15 inch
cone. A 1000 cycle cross-over network
has to be chosen for such a combina-
tion, as the tweeter length is limited.
Speakers of this type range in price
from $100 to $150.

ONE-WAY LOUDSPEAKERS
In order to extend the frequency re-
sponse of speakers without going to the
expense of a two-way system, engineers
have devised a double paper-cone
speaker, with both cones driven by the
same voice coil. The big .(low frequen-
cy) cone is usually of thick paper to
comply with its requirements, while the
HF cone is of hard material. They are
priced at from $50 to $100. In other
one-way speakers, the center part of the
cone is designed in a special way so as
to reinforce the high frequencies and
provide better distribution. Since high
frequencies are strongly directive, a
great deal of attention is given to dis-
persion of those highs. This is the rea-
son for the use of multicellular horns in
tweeters, instead of just one horn.

Besides these more elaborate designs,
we can count all other cone speakers
as in the one-way class. Their sizes
range from 18 inches down to the small-
est ones used in portable radios. But
the size of the speaker is in no way an
indication of quality. For the mass of
the larger cone requires more power to
move it. In cheap speakers this power
is not provided, the alignment of the
voice coil is often not too consistent,
and the quality of the material is not
the best. All this results in flabby sound
reproduction with a bad transient re-
sponse, to which, unfortunately, many
people have become accustomed.

However, within the last few years a
great deal of improvement in loud-
speakers has brought good quality
within a reasonable price range. Today
you may find 12 inch speakers of decent
quality offered at $20 upwards, with
Class 2 units beginning at $100 and
Class 1 at $150 and up. They will be
rated in watts, which refers to the
speaker's peak input volume. However,
it is useless to buy an overrated speak-
er. Matching it to the amplifier rating
is the best plan, since this will prevent
any possible damage to the speaker due
to overload. With a fairly efficient
speaker system of about 10% efficiency,
you can recreate piano at its original
loudness with approximately 4 watts
input to the speaker.

You will notice that I have not men-
tioned frequency range in connection
with speaker quality. There are various
methods of compiling such data, and
they vary with each manufacturer. But
in the end they have little practical
value. A better indication is the weight
of the magnet. For a bigger and heavier
magnet will give a stronger magnetic
field and will be responsible for that
crisp, clear tone you are looking for.

Be sure you compare magnets of same
quality. Alnico V is the best and most
frequently used kind.

Thus, all other features seemingly
being equal, the final choice of a good
speaker rests simply on how it sounds.
Most dealers specializing in audio
equipment have hookups which permit
instantaneous push-button changes from
one speaker to another. Using a repre-
sentative program, compare those
speakers in which you are interested
with the very best available speaker as
a guide. And remember: when improv-
ing your audio system, the loudspeaker
— though last in the chain — should
come first in your choice.

(In The Reproduction of Sound: 4,
Mr. Schoenwald will concentrate his
comments on tape recorders. Look for it
in August Movie Makers — The Edi-
tors.)

The Auricon
Super-1200

[Continued from page 234]

film at sound speed. The magazines are
driven with a "Fluid-Drivomatic" clutch
and a noiseless Neoprene rubber belt.

The intermittent film movement in
the Auricon Super-1200 camera im-
parts a perfect sine-wave path to the
film during pulldown, as the claw en-
ters the film slowly at the start of each
1/50 of a second pulldown cycle, in-
creases in speed during the center of
the pulldown cycle and then slows down
to a gentle stop before lifting out of
the film perforation. In this way a rock-
steady picture is obtained on the film
with no damage to film perforations in
the camera. The film moves through
the Super-1200 gate over stainless steel
balls which provide perfect focus regis-
tration by positioning the film emulsion
exactly .690 of an inch (to an accuracy
of 1/10,000 of an inch) behind the "C"
mount lens.

SOUND OPERATION FEATURES

The Auricon Super-1200 camera, al-
though designed as a superb photo-
graphic instrument, is also a high fi-
delity sound on film recorder. The re-
cording system usually furnished is of
of the variable-area design with shutter
noise-reduction. This type of RCA-li-
censed sound track minimizes "Eber-
hard effect" and "Mackie line" troubles
which occur on multiple track record-
ings, and at the same time provides the
best results with average day-to-day film
laboratory processing. The Super-1200
camera is also available for RCA-li-
censed variable-density noiseless record-
ing, if desired.

Both variable-area or variable-density
recording galvanometer systems are
rugged and dependable and are uncon-
ditionally guaranteed for two years, re-

MOVIE MAKERS

239

gardless of the manner in which the
recording amplifier is handled or of the
subject matter recorded. The Auricon
galvanometer and optical system are
rugged enough to withstand the re-
cording of gunfire, yet they can capture
the delicate shadings of a fine sym-
phony orchestra on the sound track.
No adjustments are required <*: pro-
vided for on Auricon galvanometers.

The Auricon Super-1200 camera is a
custom-built, precision optical instru-
ment, for which auxiliary equipment
for many types of specialized film work
is also available. Inquiries concerning
the camera should be made directly to
the manufacturers in Hollywood.

Filming underwater

[Continued from page 221]

strips which hold the glass in position.
Use plenty of small nuts and bolts for
even pressure, a rubber seal (old inner
tube) and plenty of rubber solution to
assure a watertight join.

The two arms are made from hard
but flexible fiber or plastic, Vg of an
inch thick. (Wood is not suitable since
it would warp. ) The arm ends are 8V2
inches from the lens and they have slots
cut as shown for holding the mirror.
This should be about 8 by 6 inches to
cover the lens field and should be as
thin as possible to save weight. Its sup-
port is of the same material as the arms,
clamped as shown, and is also slotted.
The tension of the arms when bent out-
wards to accept the mirror will hold it
firmly. Note that Fig. 1 shows the camera
position inverted for a mirror shot, in
order to bring the subject the right way
up. The second set of slots in the arms
allows the mirror to be fitted the other
way round when the camera needs to be
turned over for reverse-action shots on
16mm. film.

The support to the camera tripod
screw is next bent from rigid metal and
bolted on. A small bolt will later secure
this to the camera, the free end of the
camera plate being held by stout rub-
ber bands (more inner tube).

If your release button is in front, you
will also need a hole for your finger
(see Fig. 2), otherwise the hood is
ready for painting, flat black being
used. One coat inside and three out. the
second thick and gooey and all bolts
being carefully daubed to prevent leaks.
Also paint the seal, as the oil will ex-
pand the rubber and help it to stay
watertight. The hood is now ready for
testing in the bath.

FOCUSING

As mentioned, only two lens settings
are used, the one for closeups, the other
for near shots. By this standardization
the difficulties of using a visual focuser
with the hood on the camera, or of cor-
rectly estimating underwater distances

— which never is easy — are avoided.

For the closeups a 4 diopter supple-
mentary lens is used as in titling tech-
nique. Have this ground to your filter
size so that it may be held on the lens
with a filter mount. If using a focusing
lens, remember to set it at infinity. The
hood must be removed for each change-
over unless a small hinged door is fitted
as a refinement. Without the supple-
mentary unit, a focusing lens should be
set at 10 feet, which gives the same
effect underwater as a fixed focus ob-
jective. For clarity at the maximum field
the setting is around 25 feet.

At the beginning. I numerically cal-
culated the depths of field, carefully
taking into account (I thought) all
factors involved. But they were way out.
So the following figures are from actual
tests. They should be confirmed by
shooting off a few tests with your own
lenses before embarking on anything
ambitious. These test shots are wise in
any case, since there may be lens cut-
off from a misaligned hood.

With the supplementary lens and
shooting at //5.6, the depth of field ex-
tends from 1 inch inside the arm limits
to just under 2 feet; with the lens at
//3.5, the depth extends from 5 feet up-
wards. The range missed could be cov-
ered by a second supplementary or by
guess-focusing, but I have never noticed
any handicap and prefer not to compli-
cate matters.

EXPOSURE

The two apertures mentioned are
standard for color exposures under-
water, the extra stop taking care of the
light absorption of the water at the
greater distance. They are correct for
bright sun conditions within three hours
of noon, and, as the use of a meter is
impractical, this strong, constant light-
ing should be used for all underwater
shooting. To be sure, the fact that the
most interesting life in rock pools is
generally in the shade may seem a snag.
But sunlight can , easily be directed
where required with a mirror, to flood
closeups or to serve as an effective spot-
light in near shots. I have never needed
to depart from these exposures; but
should a subject look unusually dark
or light I adjust by changing camera
speed.

In operation, here are three points I
have found important:

( 1 ) Be careful that the glass window
remains completely submerged while
shooting.

(2) Avoid water with too much rip-
ple. The hood will ride the wave move-
ment and be difficult to hold steady and
there is also danger of water splashing
over the camera.

(3) Watch that the hood or arms do
not shade closeup subjects.

And may I hope that you get as much
exciting footage, and as much fun, from
underwater filming as I do.

rTEINHEl

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240

Omaha elects Frank Krecek sue
ceeds Jewell Bock-
witz, ACL, as president of the Omaha
Movie Club, ACL. Other new officers
include Myron Jacoby, ACL, vicepres-
ident; Florence Classen^ secretary, and
Lyle E. McBride, ACL, treasurer. Serv-
ing as directors are Ray Clinkenbeard,
Paul Finch and Ralph Peterson. Gladys
L. Rohrs edits The Projector, club bul-
letin.

K.C. dines The fourth annual ban-
quet of the 8-16 Home
Movie Makers of Kansas City, Mo., was
held in April. Dr. J. Vincent Tillman
was the toastmaster, while club presi-
dent John C. Sherard was the principal
speaker. Over 100 persons attended
the dinner. The entertainment included
vaudeville, music and movies.

WDAF-TV in Kansas City recently
televised the winning films in the club's
annual contest. The pictures were Trail
to the Rainbow, by Robert C. Davis,
and North Country Adventure, by Har-
old Cramer, ACL, first and second place
winners, respectively.

Durban winners Gateway to South
Africa, by R.
Braude, was the first place winner in
the Kodak Cup competition sponsored
by the Cine 8 Club, ACL, of Durban,
South Africa. Reclaiming South Africa,
by Dr. P. A. Johnson, placed second. In
third place was Neptune's Children, by
R. B. Phelp. Runners-up were Under
Southern Skies, by F. L. Smith; The
Flight of the Bumble Bee, by Dr. John-
son, and Kruger National Park, by A.
Brodie. All films were on Kodachrome.

Golden Gate A recent meeting of
the Golden Gate
Cinematographers, ACL, of San Fran-
cisco, was devoted to a study of sound
techniques using wire and tape record-
ers. E. Whigam, ACL, demonstrated
the tape recorder, and A. Theo. Roth,
ACL, demonstrated and discussed fea-
tures of the wire units. Later, tape or
wire recordings were employed during
the screenings of members' travel films.
The films included Bakersfield. in the
Spring, by Mrs. Scherer; Touring Eu-
rope, by Marilyn Roth, and Holland,
by Harry Ketjen.

Richmond installs The combina-
tion installa-
tion-pot luck dinner of the Richmond
(Calif.) Movie Camera Club saw the
inauguration of the following officers:
Herb Goldstein, president; Henry Big-

gio, vicepresident ; Gloria Young, sec-
retary; Edna Hunting, corresponding
secretary; Meredith Dix, treasurer, and
Donald Hitchcox and George Williams,
directors.

L# A. 8's A technical discussion of
8mm. filming problems
was the feature of a recent session of
the Los Angeles 8mm. Club. This was
followed by A Citadel of Hope, distrib-
uted by the Orthopaedic Hospital. The
Shut-in committee completed plans for
showings in the LA. area. Guest speak-
er of the evening was Felix Zelenka,
whose articles have appeared in Movie
Makers. The program concluded with
the showing of Desert Holiday, by Eu-
genia Elliott, ACL, and Wintertime, by
Herb Fulton, ACL, both club members.

Dayton bulletin The first c°py

of The Script,
spanking new monthly bulletin of the
Dayton Amateur Movie Makers Club,
ACL, has been received and makes a
very good impression. From it we
gleaned the following facts: Exposure
was the subject of a talk by Ken Snel-
ling at a regular club meeting last
month, which also featured the screen-
ing of Preparation, Cooking and Serv-
ing of Food, by Raymond D. Johnson;
the 1950 club contest winner, Way-
marks from Bow to Boston, by L. E.
Bolender, was projected at a subse-
quent session; the club celebrated its
seventh birthday last month with ap-
propriate fun and speech making.

Denver A number of interesting
film notes have been gleaned
from the Denver Council of Camera
Clubs' bulletin, Photogram. The Great-
er Denver Cinema League viewed the
following films in recent programs:
Yellowstone, by Walter Gass, of Bell
Camera Club; Safari, by Wallace Ta-

"'■■'"'''■'■-^■h ,

AWARD WINNERS of the Cinema 16 Club, ACL,
of Omaha are (I. to r.) Harold C. Ramsey, ACL,
Michael Kobold, ACL, Vilfrid B. Walters, ACL,
and Lyle E. McBride, ACL.

ber, filmed in Africa during 1950 under
the auspices of The Denver Post, and
an unfinished film on the drilling of
an oil well, presented by Ralph Behr,
ACL.

Results of a film salon held last fall,
but only recently announced, were
made known. San Francisco, by William
C. Kirk, ACL, was judged the best
8mm. film, and Colorado, by W. I. Nel-
son, was given two awards, Best of the
Show and the best 16mm. production.
Runners-up were Markley L. Pepper,
ACL, and Dr. A. D. Kleyhauer. Mr.
Kirk's film was shown at a recent guest
night of the Bell Camera Club.

San Mateo Peninsula Home Mov-
ies, Unlimited, of San
Mateo, Calif., came in for some pub-
licity earlier this year when club mem-
bers Earl Phillips and Jack Harris ap-
peared on the Filming for Fun radio
program over San Francisco's KLX.

Recent club events include a club
contest, results of which are unknown
at this writing; a screening of Mardi
Gras, by Joseph Pasqualetti, and the
formulation of plans for a club produc-
tion of a mystery story or old fashioned
mellerdrammer.

The club meets semi-monthly on
first and third Friday evenings in the
San Mateo Civic Auditorium. Visitors
are welcome.

Brooklyn Two recent programs of
interest were presented
members of the Brooklyn Amateur Cine
Club, ACL. The first included a screen-
ing of Iceland, Land of Contrasts, by
Allan Hamington, an 8mm. production.
This was followed by Plymouth, by
Oscar Horovitz, ACL, and Menemsha,
by Jose Pavon, ACL. Open discussion
followed the screenings. The other pro-
gram was a guest night, at which Ernst
Wildi, ACL, technical consultant for
Paillard Products, gave a lecture-dem-
onstration of various lenses and their
uses. On the same evening, Safari,
16mm. sound Kodachrome, by Richard
Cella, was projected.

EaStOn annuals The third annual
banquet of the
Easton (Pa.) Click-It Club, ACL, cli-
maxed the group's first annual contest.
In the movie division Edward Delaney
took first prize for Trees, Shrubs, Flow-
ers, and Paul Detweiler second for
Christmas, Both were 8mm. Koda-
chrome.

In the slide group William Miller
took top honors, followed by John E.

MOVIE MAKERS

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EASTON (PA.) CLICK-IT CLUB, ACL, makes awards at its third annual banquet. L. to r. are seen
Paul Detweiler, Floyd H. Sandt, Edward Delaney, Sterling Genua, William Miller and John E. Black.

Black in second place, Beulah Miller
in third and Floyd H. Sandt, honorable
mention. The winning films were
screened as a feature of the program.
Sterling Genua, club secretary-treasur-
er and donor, made the presentation of
Sterling's Trophies to Mr. Delaney and
Mr. Miller for photographic achieve-
ment.

Dallas elects At their recent elec-
tion, members of
the Dallas 8mm. Club, ACL, chose F. A.
Clemens, jr., for a second term as presi-
dent. Vicepresident is E. C. Chenault:
M. T. Chadwick is secretary, and Carl
A. Johnson, ACL, is treasurer.

Mrs. Joe Galloway has been appoint-
ed membership chairman and Mrs.
W. D. Thornton social chairman. 0. F.
Switzer is program director, while Mrs.
Switzer is parliamentarian.

Berkeley Ralph Luce, ACL, pre-
sented a showing of his
prize winning No Credit, produced in
collaboration with Leonard Tregillus.
FACL. at a recent gathering of the
Berkeley (Calif.) Movie Club. After the
screening, he demonstrated the tech-
niques of single frame exposure and
animation used in the film.

On the same program were Just We
Two and The Manufacture of Sugar
from Sugar Beets, by William Moyle,
and a city park department film. How
to Play in Your Own Back Yard. The

A CONTINGENT of the Pensacola Camera Club,
ACL, on a group tour of Western states, in-
cludes (I. to r.) Dr. Clyde E. Miller, jr., ACL,
David Adams, O. L. Adams, Bill Womack.

latter was shown for the purpose of
study, since the club has been requested
by the city authorities to produce a
more up to date documentary on the
parks shown.

Cannes festival Announcement
has just reached
us concerning the International Ama-
teur Film Festival, at Cannes, France,
to be held in September. Filmers in-
terested in competing for awards at this
famed international event should ad-
dress their inquiries to Secretary. Co-
mite d'Organisation du Festival Inter-
national du Film Amateur. 20 Boulevard
de Lourraine, Cannes. France. Films
must reach Cannes before August 10,
1951.

Albany contest Helen C. Welsh,
ACL. and Esther
Cooke, ACL, were tied for first place
in the first group of a contest sponsored
last month by the Amateur Motion
Picture Society of Albany. ACL. Miss
Welsh's film was Letter from Bermuda,
and Mrs. Cooke's was Oaxaca. Rogue's
Gallery, by F. M. Spoonogle, ACL.
placed second, while Italy, by Rose
Robilatto. filled third place.

In the second group, comprised of
filmers who have not placed in previous
club contests, Mrs. Madeline Lemperle.
ACL, won first place for Lourdes. Sec-
ond prize went to Across the Atlantic,
by Mary Robilatto, ACL. and third to
Oliva Klein for Switzerland. Runners-
up for both groups were, respectively,
Bruce, by Wilma de Murio; Abby, by
Dr. Irving Vies, ACL. and Warners
Lake Field Day, by Charles Senecal.
The contest was judged by the ACL.

You and your meter

[Continued from page 223]

dark subjects is because, as stated
earlier, your meter is adjusted to read
directly only on average-toned subjects.
Therefore what your meter has done, in
scanning either a light-toned or dark-
toned subject, is to react to it as if the
tone were average. Thus, in the case of
a light-toned subject, it has given too
high a reading. If this exposure were

241

followed, the resulting image would not
be light in lone, as you want it to be;
it would be average. In like manner,
when your meter reads directly on a
dark-toned subject, the aperture it indi-
cates will be too low. And if this ex-
posure were followed, the resulting
image would not be dark in tone — but
again average.

Thus, compensations from these di-
rect readings have to be made. And you
are the one who has to make them. But
they are easy, as follows: (1) Since
a direct meter reading on a light-toned
subject is too high, one to two full
stops more exposure than the meter in-
dicates should be given — for an average
light-toned exposure midway between
//8 and //ll. (2) Since a direct meter
reading on a dark-toned subject is too
low, one to two full stops less exposure
than the meter indicates should be
given — for an average dark-toned ex-
posure midway between //8 and //5.6.

COMPENSATIONS FOR SUBSTITUTE
READINGS

So much, then, for meter readings
directly on the subjects to be filmed.
What, you may now ask, is the situation
when the reading is made instead on
a subject substitute — such as the gray
card?

Well, we have seen already (under
Meter Scaled for Average Tones) that
a gray card reading for an average-
toned subject may be used directly.
And this is only to be expected, since
the reflectance of the gray card (18 per-
cent) is fixed purposely at the same
level as the average subject.

But let us suppose that the gray
card is scanned by the meter in place
of a light-toned subject. \our meter
cannot know this, so it will again re-
turn— in direct relation to the existing
light condition — a correct reading for
an average-toned subject only. If, for
example, the light condition were bright
sunlight, the gray card reading would
be unalterably //8. no matter what sub-
ject it was subbing for.

In this case, however, we know, from
observation that ( 1 ) a light-colored
subject reflects more light than the 18
percent average, and (2) that a dark-
colored subject reflects less light than
the average. We know also from ex-
perience (see Standard Exposures a
Guide) that this difference is generally
a matter of x/2 stop from the average ex-
posure reading. Thus, with gray card
readings we can establish new rules of
compensation: (1) for a light-toned
subject, give % stop less exposure than
the average indicated by the gray card;
(2) for a dark-toned subject, give %
stop more exposure than the average
indicated by the gray card.

SIDE-LIGHTED SUBJECTS
Thus far we have been considering
only subjects which are flat-lighted

242

JULY 1951

THE FEELING OF SINCERITY

ELSEWHERE in this ussue there is a full-page
announcement of the rules and regulations gov-
erning ACL's selection of the Ten Best Amateur
Films of 1951.

While we commend to each contestant a careful
reading of these rules, we can advise you in advance
that (save for a routine adjustment of dates) there
is little that is new in these official regulations. And
there is little reason that there should be. For the
ACL's contest rulings are the trial-and-error product
of twenty years' experience in evaluating amateur
films. Our rules have, over these two decades, been
changed often in the past; and, as new conditions
indicate new needs, they undoubtedly will be changed
in the future. But this year, in the Ten Best decalog,
there is little that is new.

There appears, however, in the discussion which
precedes the rules, a new word of the greatest signi-
ficance. That word is "sincerity," and it occurs in the
following statement:

"What the judges seek first of all is sincerity —
sincerity of camera tvork, film planning, editing,

titling and, above all, creative movie imagination."

For some years past our contest announcements
have carried a statement almost identical to the one
above. In it, however, there stood the word "quality"
in place of the present "sincerity" — "What the judges
seek first of all (we wrote) is quality — quality of
camera work, film planning, etc."

Now there is not, goodness knows, anything wrong
with putting quality in your camera work. As we
have written recently in our Ten Best articles, amateur
standards have so risen over the years that we have
come to expect quality almost automatically. However,
in thinking out these articles, we also found ourself
writing:

"What you have to say and the imagination with
which you say it carry greater weight — with us, at
least — than an empty perfection of mechanical pho-
tography."

The more you analyze this statement, the more it
boils down to the single word, sincerity. We like the
sound of it and the feeling. It fits in exactly with the
best of each vear's Ten Best.

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Arthur H. Elliott
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James W. Moore, Managing Director

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Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE., NEW YORK 17, N. Y., U. S. A.

from the front. What about the other
and often more attractive lighting pat-
terns?

Side-lighted subjects — in which ap-
proximately one half of the area is in
highlight, the other half in shadow —
are relatively easy to compute with your
meter (see Fig. 6). Simply scan the
subject (from the camera's direction,
of course) so that equal areas are in
light and shade. Generally this is best
done from a relatively close position.
For an average lighting effect, the di-
rect reading obtained may now be used.
For a more dramatic lighting effect,
use % stop less exposure than the
meter indicates.

BACK-LIGHTED SUBJECTS

With back-lighted subjects — the iden-
tification of which should be obvious —
only slightly more care need be taken
in your meter readings (see Fig. 7).
Here the meter is held close in so as
to scan the shadow area only, and a
shield (generally your hand) is inter-
posed as needed to cut off any stray
glow from the back-lighting. Under this
setup, if it is important to reproduce

detail in the shadow area of the subject,
% stop less exposure than the meter
reading indicates should be used. For
a more striking lighting effect — in
which the shadow area will look shad-
owed and the highlights brilliant — 1
full stop less exposure may be given
to back-lighted scenes.

Let's look at Lassen!

[Continued from page 231]

Descending and traveling west, much of
the surrounding country may be filmed
in the distance. Three tenths of a mile
from the summit is the Lassen Peak
Trail. This is a good path, 2% miles in
length to the top of Mount Lassen. At
least three hours will be required to
make the hike.

THE LAST LEG

In the shadows of Mount Lassen is
Lake Helen. At 22.5 miles the. road
skirts along the banks of this pictur-
esque lake named after Helen Tanner
Brodt, the first white woman to climb
to Lassen Peak in 1864.

A short distance beyond is the trail
to Bumpas Hell. This is one of the
largest areas in the park where spec-
tacular hot springs, mud pots, boiling
pools and other types of thermal ac-
tivity may be filmed. Two and a half
hours are required and the hiker is
cautioned to stay on the trails and well
back from these sites, since their edges
are often thin or slippery.

At Diamond Peak, 25.7 miles, the
highway to the park's southwest bound-
ary winds up inside of the original
Brokeoff Crater, where it is still pos-
sible to view steam vents in the old
crater wall across the canyon. Two
miles further down the road is Sulphur
Works, an area where more steam vents,
boilers, mud pots, etc., can be seen and
filmed from the road.

Finally, with the speedometer read-
ing 29.1 miles, our tour ends at the
Sulphur Works Checking Station, while
at 29.7 miles, the southwest park bound-
ary is reached at the Raker Memorial
Gateway. Slowing down as a black-
tailed deer walks leisurely across the
road, we turn and wave farewell to
California's little Yellowstone.

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Your skill is more important than the equipment you

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Because your movie camera is an extension of yourself, its operation and mechanism

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A turret type camera is the one most desired by movie makers. But top performance from

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MOVIE MAKERS

247

Max Cohn, Ballston Lake, N. Y.

Miss Leoni Kennedy, Milwaukee, Wise.

Gurden B. McKay, jr., Brighton, Mass.

M. E. O'Brien, Chicago, III.

C. E. Pehlman, Ashton, Iowa

Dr. W. T. Roush, Pueblo, Colo.

Willy Scherrer, Basle, Switzerland

N. J. Augustine, Norristown, Pa.

Manuel Alonso de Florida, Mexico City,
ivi exzco

Rudolph De Harak, Forest Hills, N. Y.

Edna Doyle, Palisades Park, N. J.

James A. D. Ferguson, New York City

K. J. Richards, Salisbury, Southern Rho-
desia

Lt. J. V. Bartlett, CEC, USN, Falls Church,
Va.

John B. Dudek, Wilmington, Del.

Frank R. Fitzl, Milwaukee, Wise.

Charles Page, San Francisco, Calif.

William T. Ross, Boston, Mass.

Herbert Sanes, Flushing, N. Y.

M. W. Swithinbank, Oxford, England

Joe C. Acklin, Pontiac, III.

William D. Barron, Camp Sherman, Ore.

B. F. Gostin, Chattanooga, Tenn.

William Jennings, Chincoteague, Va.

Eli LaCaille, Los Angeles, Calif.

Robert Meyers, Brooklyn, N. Y.

Julius Schulman, Forest Hills, N. Y.

Dr. J. A. Camara, Jacksonville, Fla.

Bernard A. Dignan, Bloomfield, N. J.

George H. Emery, Portland, Conn.

Alexander 0. Kelman, Springfield, Mass.

Harold Whitaker, Muskogee, Okla.

Robert Bathgate, Scotia, N. Y.

J. Malcolm Greany, Juneau, Alaska

E. A. Boos, Piano, III.

Eduardo B. da Costa, Sao Paulo, Brazil

John T. Gleason, New York City

Sven A. Hansen, Sao Paulo, Brazil

Lt. (jg) Richard S. Rutkowski, Ventnor,

N. J.
Ralph J. Sherer, Newark, N. J.
Michael Anderson, Miami Beach, Fla.
Fred S. Klotch, Fairlawn, N. J.
John F. Preston, Arlington, Mass.
John B. Wilson, Wilmington, Del.
Jack C. Murphy, Dearborn, Mich.
Paul 0. Ruiz, Jackson Heights, N. Y.
Paul E. Gibson, Des Moines, Iowa
Geo. Haumann, Portland, Ore.
Stanley F. Heleski, Brooklyn, N. Y.
Flora Lee Littlefield, Brooklyn, N. Y.

Netherlands National Tourist Office, New

York City
Leo M. Oestreicher, Opportunity, Wash.
Dr. L. A. Whittaker, Fort Smith, Ark.
Dr. Armand R. Capuozzo, Bellerose, N. Y.
Earl E. Carroll, Jacksonville, Fla.
R. J. Scotty Gall, San Diego, Calif.
Edwin Hamre, Minneapolis, Minn.
Robert E. Lewis, Smyrna, Ga.
John R. Burkhart, New York City
Paul H. Hamisch, Dayton, Ohio
Otto Munk, M.D., Monahans, Texas
Louis Pongratz, New York City
Dr. E. Rambaldi, Detroit, Mich.
Emilio Venturini, Sao Paulo, Brazil
Hans Bagattini-Gattringer, Rorschach,

Switzerland
Allan W. Barlow, Balwyn, Australia

Dr. C. Faribault, Franquelin, Canada
John Folkema, Grand Rapids, Mich.
H. S. Goldschmidt, St. Gall, Switzerland
Lionel R. Spencer, Toorak, Australia
Dr. Edwin C. Brookman, New Port Richey,

Fla.
Prof. Norbert Reim, Obot Idim, Nigeria
Colin H. MacDonald, Fairbanks, Alaska
Nathan Easterman, Glasgow, Scotland
Aneece W. Hassen, Sulphur, Okla.
L. B. Morgan, New Hyde Park, N. Y.
Carl Smidt, Zurich, Switzerland
John Weir, Glasgow, Scotland
Al Baird, Dallas, Texas
Dr. Victor H. Boris, Brooklyn, N. Y.
Rev. C. D. Goudie, Chicago, III.
Edward Bartlett, Burlington, Vt.
J. Robinson Blair, Toronto, Canada

F. K. Boland, jr., Atlanta, Ga.
Burnett E. Ellis, Columbia, Mo.
Ewrightson Harville, Pensacola, Fla.
Norman Kirschenbaum, West New York,

N. J.
Richard 0. Knutson, Grand Forks, N. D.
Oscar M. Nudelman, Chicago, III.
Beverly Scott, Cleveland, Ohio
Arthur M. Bloom, Brooklyn, N. Y.
Lui F. Hellmann, Indianapolis, Ind.

LeRoy Hurte, New York City

Nicholas A. Reshetylo, Jersey City, N. J.

Jerry Fuss, Rego Park, N. Y.

LeRoy A. Smart, Walnut Creek, Calif.

Arthur P. Jeffrey, Sfim Pablo, Calif.

Harold W. T. Purnell, Georgetown, Del.

M. Giuseppe B. Tome, Milan, Italy

Andrew Dawes, Milwaukee, Wise.

L. M. Fulghum, New York City

Abe Jacobowitz, Brooklyn, N. Y.

Woodrow W. Levin, Trenton, N. J.

Joseph Miskinis, jr., Dearborn, Mich.

Dr. E. A. Baber, Cincinnati, Ohio

Ralph W. Ball, Detroit, Mich.

Camera Click Club, Bureau of Reclamation,

Denver, Colo.
Harry Cohen, Brooklyn, N. Y.
Malcolm R. Fidell, New York City

McCarty Photo, St. Louis, Mo.
Earl R. Sparks, East St. Louis, III.
Harry Sievers, New York City
William F. Spoerle, Rego Park, N. Y.
Mrs. H. K. Turney, Oklahoma City, Okla.
Mrs. Ann Brantner, Fargo, N. D.
James 0. Chance, jr., Bryan, Texas

G. W. Ferens, Dunedin New Zealand
Ritson Hall, Cincinnati, Ohio

George E. Harwell, University City, Mo.
Maynard B. Huff, Santa Ana, Calif.
K. L. Stinnette, M.D., Bardstown, Ky.
Arthur A. Apostle, Alameda, Calif.
Robert I. Danzinger, Montreal, Canada
Charles Farrow, Brooklyn, N. Y.
Ralph E. Massebeau, Honolulu, T. H.

Istefo Poyrazoglu, Istanbul, Turkey

Robert L. Singer, Newark, N. J.

V. Rev. Christopher Christodoulou, Jersey

City, N. J.
Anita Nathanson, Sacramento, Calif.
C. E. Richard, Trogen AR, Switzerland
Henry J. Schmel, Philadelphia, Pa.
Graham L. Secord, Detroit, Mich.
Albert Boese, Caldwell, Idaho
Milton H. Levy, New Britain, Pa.
Tavisak Virayasiri, Bangkok, Siam
Charles H. Walker, Richmond, N. Y.
Martin Gallo, East Los Angeles, Calif.
Marks Photo Shop, Grand Rapids, Mich.
Josselyn Shore, Great Neck, N. Y.

Lt. B. E. Ackerman, c/o PM, New York
City

Lt. 0. H. Hancock, c/o FPO, San Fran-
cisco, Calif.

J. E. Doxtator, South Bend, Ind.

Alfred Grabe, Chicago, III.

E. A. Waldburger, Durban, South Africa

William J. Blazek, Chicago, III.

Herman Hollowell, Milwaukee, Wise.

Howard Bennett, Pt. Washington, Wise.

William Bauman, Delano, Minn.

Otis Richman, jr., Berkeley, Calif.

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AUGUST 1951

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THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

New ACL members
The reader writes
Closeups
Shoot yourself!
Two weeks to go

August
1951

247
250

What filmers are doing 252

Denis M. Neale 253

Herbert A. MacDonough, ACL 254

You and your meter: 2 Photographs by Leo J. Heffernan, FACL 256

Yellowstone by the yard

A two-way titling chart

Let's change the focus!

The clinic

Color in a crater

News of the industry

Book reviews

Clubs

Good sense about sound

John B. Newlin, ACL 258

John E. Closson, ACL 259

Laurence Critchell 262

Aids for your filming 263

Felix Zelenka 264

Reports on products 266

269

People, plans and programs 270

- Editorial 274

Cover photograph by Edwin Levick from Frederic Lewis

JAMES W. MOORE
Editor

DON CHARBONNEAU
Consultant Editor

ANNE YOUNG
Advertising & Production

Vol. 26, No. 8. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

249

keep those

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250

AUGUST 1951

SOUND ON 8MM.?

Dear ACL: I would like to see an arti-
cle in Movie Makers bringing up to
date the information on magnetic sound
for 8mm. movies.

There have been numerous articles
on wire and tape recording, but it has
been some time since the above has
been discussed and doubtless some
progress has been made on it.

M. B. Denny, ACL
Jackson, Miss.

Member Denny and all other readers
should watch for important news of mag-
netic sound-on-film developments in Sep-
tember Movie Makers.

WONDERFUL BOND

Dear ACL: Thanks to my membership
in ACL, I had the pleasure to meet
Mr. Oscar Horovitz, ACL, during his
stay in Paris, and now I have been
very glad to read his magnificent arti-
cle in your June issue.

Yes, indeed, our hobby is a wonder-
ful bond between good-willing people
in this rather disturbed world. I wish
it will go on for a better understanding
between nations.

A. Rossi, ACL
Paris, France

NO PREREQUISITE

Dear Mr. Moore: Receipt today of
the July Movie Makers, with its an-
nouncement of the 1951 Ten Best con-
test, prompts me to send the letter I
have been intending to for some time.

Specifically, it is in regard to a state-
ment which appeared in the Vacation
Issue of Panorama, Bell & Howell's
quarterly, which said (as an editor's
note) : "If you plan to enter a film in
an ACL contest, you will be interested
to know that sound accompaniment is
almost a prerequisite of success."

I am willing to take the League's
word for it that this is not the case
(your two recent articles on how the
Ten Best contest is conducted), but I
must say that such publicity is inclined
to create doubt about entering in the
mind of one who, like myself, does not
have sound and does not intend to have
it.

I took up amateur movie making to
record trips that I made, and not to
try and ape professional films . . . That,

for better or for worse, is the way I
still feel about it — "prerequisites" or
no prerequisites!

Lewis B. Sebring Jr., ACL
Schenectady, N. Y.

Grateful as we are for Panorama's plug
of our contest, we must nevertheless dis-
claim sound accompaniment as "almost
a prerequisite of success."

ACL's stand on this matter was ex-
pressed in our June article, More Talk of
the Ten Best, in which we wrote: "And
now, what about sound? Well, our atti-
tude is that, under present technical lim-
itations, sound for the amateur is still
secondary — an adjunct to the main show
... if it is offered, we feel it is only fair
to evaluate it . . . along with your picture."

HOW NEAR TO ACL

Hi-Ya, Folks: I wonder how many of
our members know how near they are
to League headquarters when they are
in Grand Central Station in New York?
I know that when I came to see you
I could have walked from my hotel;
but I got on a bus and transferred
either once or twice before I found you.
I am sure there are many members
who, while in New York for a short
time, would look you up if they knew
the exact location.

Robert E. Tilbury, ACL
Hamilton, Canada

We hope so. Matter of fact, League
headquarters were moved in 1936 and
have since been maintained at 420 Lex-
ington Avenue expressly for the conveni-
ence of visiting ACL members.

The address — which is between East
43rd and 44th Streets on Lexington Av-
enue— is commonly known as the Gray-
bar Building; as such, it connects directly
by interior concourse with the Grand
Central Station — from the eastern or
Newsreel Theatre end.

Because of that connection, guests from
the Commodore, Biltmore and Roosevelt
hotels may reach the ACL office by walk-
ing through the Grand Central, with
which these hotels connect underground.
The office is also within short walking
distance of the Hotels Lexington and
Shelton (a few blocks north on Lexing-
ton) as well as the Ambassador and
Waldorf Astoria, a few blocks north on
Park Avenue.

A ZERO MISSING?

Dear Mr. Moore: I have just received
and looked over the May issue of Movie
Makers, and I like what I see and
have time to let soak in. The sound
articles are timely. Let's have more of
the same as conditions permit.

There is one slight correction I would
like to call to your attention. In the
diagram on page 157 a 6C4 tube is
shown as being operated from the 115
volt line, the "proper" voltage for said

6C4 tube being obtained by the drop-
ping resistor of 75 ohms (25 watt ca-
pacity) .

I am very much afraid that a "0" was
dropped somewhere along the line, as
a 75 ohm resistor would place about
100 volts on the 6C4 filament and
naturally burn it out. The proper value
for this resistance is approximately 750
ohms — the exact value not being crit-
ical.

Joseph A. Wagner, ACL
Verona, Pa.

SOUTH AFRICA SOUNDS OFF

Dear Mr. Moore: Thought you might
be interested to read first hand of the
reaction out here to your March edi-
torial, Which Do You Choose? After
reproducing it in full in The Sub-
Standard, news bulletin of our Durban
Cine 8 Club, our editor followed with
a number of comments — from which
you may quote at will. (We now are
quoting — Ed.)

"It will be many years, most likely,
before South Africans sit staring at
television, so that TV for the present
is not our worry. But our American
friends are worried; so let us throw
them a lifeline.

"Ever since the inception of our alub
in July, 1947, we have suffered from
a shortage of color film. We have
groused plenty; but devaluation, dollar
shortages, import controls and perhaps
lack of consideration on the part of the
manufacturers render it futile.

"And now concern is felt in certain
circles in America at the falling off of
amateur filming — although apparently
there is no shortage of film there. And
so, Members, which do you choose? TV
and Film, or No TV and No Film?"

Neal Du Brey, ACL
Durban, South Africa

SURPRISED AND HONORED

Dear Mr. Moore: Do you recognize
the two gentlemen in the accompanying
photograph? To be sure, they are none
other than the League's vicepresident,
Ralph E. Gray, FACL, and yours truly.
I was surprised and honored when
Mr. Gray called on me soon after his
arrival here, and it so happened he

RALPH E. GRAY, FACL, left, League's vice-
president, visits with O. L. Tapp, ACL, this
summer at his home in Salt Lake City, Utah.

MOVIE MAKERS

parked his trailer very close to our
home. So during his brief stay we met
frequently and even went on a Sunday
auto tour and picnic. Then one day
Ralph, Glen Turner, ACL, and I
lunched together.

What an enjoyable time we had!
Words cannot express my gratitude to
the League. Its friendly staff and mem-
bers are really something to boast about.
0. L. Tapp, ACL
Salt Lake City. Utah

MAD OVER MAPS

Dear Mr. Moore: Thank you very
much for your interesting letter with
which you enclosed the street map of
New York City which I requested. I
am delighted to have it, especially with
the annotations you put in.

You may think that this map is a
mundane thing. But aside from liking
maps as such, I find they help to pro-
duce a clearer picture of your great
city about which one hears and reads
so much. For example, I find that your
ACL office is not far from the new
United Nations headquarters and that
Times Square's busyness is probably
due to the fact that it is an interchange
point on several subways.

Although I am indeed a photogra-
pher, I'd sooner have this map than a
roll of colour film.

Stanley W. Bowler, FRPS
London, England

Author in May, 1951, Movie Makers
of Great Britain Beckons, Mr. Bowler
requested that we send part of his pay-
ment in a detailed street map of New
York City — a request which it gave us
much pleasure to fulfill.

251

In this column Movie Makers offers its readers
a piece to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

EXCHANGE WITH ENGLAND

Dear Sirs: Would any reader of this
magazine be willing to correspond and
supply 8mm. color reels of New York
City, Los Angeles, Portland (Ore.),
Hawaii and Chile, in exchange for
equal color footage of places of inter-
est in London? Also are you interested
in exchanging English and American
cine books and magazines?

Dennis B. G. Moss
23 Highbrook Road
Blackheath SE 3
London, England

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252

AUGUST 1951

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Closeups-What filmers are doing

Cily-

_ State-

We had hoped, back in April, to give
you a picture of Ian Pollard, ACL, in
conjunction with his article, New Zea-
land Reporting!, in that issue. But the
requested photo did not arrive in time;
and even when it did we feared that it
was of inadequate sharpness for effec-
tive reproduction.

So on his most recent holiday clam-
bering over New Zealand's mountains,
Pollard had one of his pals shoot the
picture you see here. The pack, he says,
weighs just 82 pounds without strap-
ping on his boots. Two cameras are in
the top pockets.

A lively and cordial letter from a new-
comer to the League, J. M. Sheppard,
ACL, has made us fast friends already.
Mr. Sheppard, a writer known to readers
of the Saturday Evening Post and other
American publications as Juan Pastor,
has been living in Ecuador for the past
twelve years. In taking an annual in-
ventory of his year's typo output a
while back, it occurred to him that
some of his stories might make good
film material. Purchase of a Bell &
Howell 70-DA and ACL membership
followed in quick succession, and the
first productions got under way.

However, Mr. Sheppard is without a
titler as yet; he says he would like to
offer 16mm. footage on Ecuador in ex-
change for some 16mm. titles to order.
And, anyone traveling in South Amer-
ica will find a warm welcome at the
Sheppard hacienda. Drop him a line in
advance at Box 2220, Quito, Ecuador,
and he'll be glad to give you the benefit
of his long experience in that country.

On the face of it the postcard carried
one of those usual, gaudy chromos of
the Grand Canyon. But on the back in
a brief penciled scrawl, there were
dreams and drama: "Will shove off
sometime today," it said, "for the one
I've been waiting for— the run through
the Grand Canyon of the Colorado."

It was signed, of course, by Al Mor-
ton, FACL, and what it meant was that
after four years of planning and prepa-
ration Al Morton was at last taking up
where he left off in 1947 with his Adven-
ture on the Colorado. Specifically, he
was taking up at Lee's Ferry, in Ari-
zona, a flat place in the river bank
where that first great trip ended. The
destination this time was Lake Mead at
the far end of the Grand Canyon itself.

Along again were three companions
of his old adventure — Don Harris and
Jack Brennan, the seasoned river boat-
men, and LeRoy Sessions, a passenger
from Salt Lake City. But this year Mor-
ton was making the river run in his own
boat — The Movie Maker — built to his
own designs and with his own hands.
Jack McKellar, another river pro from

IAN POLLARD, ACL, of Dunedin, N. Z., il-
lustrates his idea of a happy holiday trip.

Klamath, Calif., was at the steering oars,
and two passengers from Pasadena made
up the complement of seven. ... A
lucky seven, we hoped, as we read the
cool, brief card.

O N a round-the-world film trip, Noel
R. Abrecht, ACL, of Melbourne, Aus-
tralia, stopped by to see us while in New
York City, his main interest being the
purchase of a new camera, make unde-
cided, and accessories. He had signed
up two compatriots for the League, A.
W. Barlow, ACL, and Lionel R. Spen-
cer, ACL, to whom we shout, long
distance, a most hearty welcome.

Mr. Abrecht, who works in 8mm., had
already cine-covered a good part of the
United States, and from here he goes
to several European countries, thence
to England and back home to Australia.

By special arrangement between the
Amateur Cinema League and Leslie
Froude, secretary of England's Insti-
tute of Amateur Cinematographers and
this year's president of the Union Inter-
nationale du Cinema d'Amateur, the
ACL will be represented for the first
time at the annual congress of UNICA,
being held this month in Glasgow, Scot-
land. Deputized by the League as an
unofficial observer, Esther Cooke, ACL,
of Albany, N. Y., will attend all ses-
sions of the congress as a non-voting
guest.

After leaving Britain, Mrs. Cooke
will move on to Holland. There, armed
with both a Bolex L-8 and H-16, she
plans to shoot a personal film on 8mm.
and a documentary for the Netherlands
National Tourist Office here on Sixteen.
The latter film, when complete, will be
available through the League's Club
Department to all ACL clubs in this
country.

253

End on

Camera

Begin on Dave

FIG. 1: Two-man pen system is plotted above. Pete shoots Dave;
pan to a stop as the cameramen change, end as Dave shoots Pete.

LET'S face it! In the life of every movie maker there
comes a time — generally about the end of his second
■ or third roll — when he feels an irresistible desire to
picture himself. One can. of course, blame such a prac-
tice on his family and friends, claiming with a becoming
modesty: "They insist on my getting in this thing!"

But why dissemble? Getting in your own film is al-
ways fun (at least for the other folks), and often it seems
the only solution to some simple problem of film plan-
ning. Especially out in the field when you are vacation
filming. Do you need a figure in the foreground? Then
lock the camera down and stand in there yourself. Is
another hand called for to con a road map? Then
push the button with one hand and point in closeup with
the other . . . Although no less modest. I hope, than the
next one. I seem to have collected quite a dossier of
dodges on how to shoot oneself. Strictly in the interests
of cine science, of course, perhaps you'd like to try a
few.

WITH THREE OR MORE

Let's take the easiest examples first. Whenever there
are three or more in vour holiday group, the basic solu-
tion is to take turns behind the camera. At least such a
switch should be made often enough so that you, the
primary cameraman, get registered as really part of the
party. Suppose, for example, you are a threesome. Largely
you will be shooting the other two in paired action: but
on occasion the action should swing to you. Which
brings up an important point in such filming tech-
niques . . .

Whenever a change of cameraman goes with a change
of shot, some action should motivate and carry the
camera viewpoint from one shot into the next. For ex-
ample. Dave shoots you passing a paddle to Pete who
carries it out of the picture. Then you shoot Dave steady-
ing the canoe while Pete enters the picture with the
paddle. In this way Pete and the paddle link the two
shots, strengthening the impression that they were taken
at the same time. In addition, the action shows that you
and Dave are several yards apart and so not likely to
be together in the same shot anyway.

TWO MAKE IT TOUGHER
Of course, when there are only two of you, things are
not nearly so easy. Although there is. to be sure, the
"conversation trick." This might run as follows:

SHOOT

YOURSELF!

Does your continuity call for you to appear
in your own picture? An English amateur
applies ingenuity to this universal problem

DENIS M. NEALE

1. (Dave is shooting you. I You take out a cigarette,
fumble, say:

2. (Title.) "Got a light?" Although such a title could
be acted out, its purposeful use here creates an oppor-
tunity for changing the camera viewpoint.

3. (You are shooting Dave.) He produces a lighter
which will not work.

You can follow this with closeups of the lighter, as
Dave and you in turn try to ignite it. But in doing this.
be careful to get the direction of lighting right: and be
sure to stand in the positions which you would really
occupy. Also watch another point: if you and Dave
shoot from your acting positions, every shot will show
the other fellow looking straight into the camera. You
can avoid this by using a cam- [Continued on page 268]

FIG. 2: Action at end of two-man pan would look like this. Here
Dave, first seen in car signaling Pete, films Pete's reaction.

FIG. 3: A transition shot from the end of two-man pan shows
Pete in pointing position, suggests Dave by car in foreground.

254

TWO WEEKS
TO GO

How one amateur, in two weeks time,
produced a successful welfare film
for TV presentation

HERBERT A. MacDONOUGH, ACL

THE 100 YEAR OLD HOME, a drab and dreary pile of mid-1 9th Century
architecture, is seen in background as author shoots early scenes.

AS THE telephone jangled, I put down the May issue
of Movie Makers and reached for the receiver.
"Would you be willing," a voice asked, "to help
out in the production of a picture for television?"

It was the Junior League Radio Workshop of our up-
state New York community calling. They had been
engaged, I knew, in a fund drive to build a new Children's
Home. Now, as a climax, the committee hoped to make
one final appeal over our local television facilities. The
TV station, they said, had already agreed to provide free
program time as a public service. The Ansco company
(which was located in our community) was ready to sup-
ply the raw film stock free. The Workshop had a young
lady who had done several successful radio scripts. Would
I be willing . . .

TWO WEEKS TO PRODUCE

Would I? Imagine being asked to shoot a picture, the
success of which could almost be measured in actual
money! Imagine having a major film manufacturer pro-
vide all the film you needed for that picture! Here, surely,
was a movie maker's dream come true. Then, just as I
agreed to help out, the voice went on:

"Well, fine! Now there's just one other thing. . . . You
will have two weeks to get the picture on the air in the
final form."

Two weeks — fourteen days — to plan, write, shoot, edit,

title, re-edit, get the release dupe made, prepare the nar-
ration, select the background music, and time the whole
for TV release! I hung up the phone and reached again
for my copy of Movie Makers. Turning quickly to John
Battison's article, Can the Amateur Tie Into Television?,
I reread with great care the good advice set down therein.
Here was a chance to put my ACL information to work
and only one day after the magazine had arrived.

SHOOTING WHILE PLANNING
We called a conference without delay and set the script
writer at work on the story while I checked my equipment
and lined up the film, lights, etc. A call to the radio sta-
tion revealed that we were allotted ten minutes of air
time, which meant 366 feet of 16mm. film running at the
standard 24 frames per second. Since the telecast would
have no color, we decided to use Ansco Hypan as the
sensitized material, taking advantage of its generous speed
both indoors and out, as well as its ability to hold the
contrast range within the limits of the television system.

At the story conference we decided to use the documen-
tary approach, being certain to point up the extreme
drabness of the 100 year old Home, the inadequate facili-
ties and the evident need for something new and much
better. At the same time we hoped to show the charm and
good spirits of the children who lived there and make our
main appeal through the winsome expressions on their

BASEBALL AND BILLY— the latter one of the heart-moving lit-
tle moppets featured in the film— each pose for their picture.

255

EXPOSURE WAS EASY in the washroom scenes, with the light-col-
ored walls and equipment raising apertures to f/8 on Ansco Hypan.

faces. With this general plan, and to save time, I decided
to go on location and shoot atmosphere, while our script
girl stayed at the typewriter and worked out the action
sequences within this framework.

It was 10:00 a.m. when Bill (my right-hand man) and
I loaded the equipment into the station wagon. As a last-
minute thought I tossed a K-3 yellow filter into my pocket,
for I had noted that the sky was a springtime blue with
fluffy clouds drifting by. The Home Superintendent
greeted us at the main building and, in a quick tour of
the premises, gave us an idea of what facilities were
available.

Outdoors the weather was perfect and no exposing
problems seemed evident. But indoors we found a movie
maker's nightmare. Sixteen foot ceilings, walls painted in
dark colors so as not to show dirt, virtually no electric
outlets except the drop light sockets, and huge, barnlike
rooms greeted us. Here were the areas we had to light
and photograph at 24 frames per second! A preponder-
ance of closeups seemed the only answer. We knew from
Movie Makers article — and from talking with our local
TV engineers — that such a treatment was almost manda-
tory in movies on the air. We knew too that for pictures
of any purpose closeups were always aces in appeal. Be-
sides, we thought, they're a lot easier to light — and to
light with controlled contrast levels. So, for the interiors,
a closeup treatment became our guiding plan.

STORY LINE SIMPLE

By late afternoon we had 150 feet of exteriors in the
can, and so we returned to the home base to learn what
progress had been made on the script. Our Junior League
friend had done yeoman service. While it broke her heart
to delete some of her favorite sequences, she had pro-
duced a streamlined and appealing script totaling only
64 major scenes.

Her story was based on the arrival at the Home of two
brothers, one eight and the other five years old. The
children of a broken household, they are brought by a
social worker at the court's order to live in the Home.
They are greeted by the Superintendent and the film then
follows them through their new life. Our two little actors
had been selected for us by the Superintendent for their
brave and winsome appeal. What a winning combination
they were was readily apparent to those thousands who
saw them on their TV sets and responded with generous
aid. But I anticipate . . .

With this script in hand, we spent the entire next day
shooting, taking all of the scenes needed in one area before
moving on to a new location. Our practice was to rehearse

PUTTING COT IN CORNER was an ideal method of conserving
limited light level, since each wall served to reflect light back on set.

"ONCE UPON A TIME" talks to a child's heart, whether read in his
own room or to a night-gowned group within an Orphan's Home.

the action twice and then make a take. If, however, the
scene was dramatically important, we would make a re-
take immediately in order to have a choice of expressions
on our young actors' faces. And. on all of the outdoor
scenes, we used the K-3 filter throughout. Its fairly heavy
filtration of the blue skies proved exactly right in keeping
them from going "bald," a rendition which would have
been disastrous to television transmission.

EXPOSURE PROBLEMS INDOORS
Then came the problem of the interiors. The huge hall
and stairway, with its pathetic 100 watt bare lamp hang-
ing from the ceiling, was a major problem. Since we
wanted to keep the atmosphere drab, we bunched our
reflector floods to give lighting that seemed to come from
the bare lamp and, in this and one other scene, we actually
had the lamp showing in the picture. Neither the March
of Time nor Orson Welles had anything on us for
realism !

Otherwise, by using closeups and semi-closeups, and
often running our extension cords 50 to 60 feet at a time,
we were able to get enough light on relatively small areas
to give adequate exposure at //5.6 to f/8. In certain
areas we replaced the lighting fixture lamps with photo-
floods and kept our fingers crossed that the ancient wiring
would take it. For the most part, we used clamp-on
holders with 375 watt medium-beam reflector floods as
both key and fill lights. These medium beam units were
selected to give us the most [Continued on page 273]

256

YOU AMD YOUR METER: 2

Our staff photographer continues his counsel on the two-part problems of proper exposure

Photographs for MOVIE MAKERS by LEO J. HEFFERNAN, FACL

LAST month in this meeting place we began an exam-
ination into some of the fundamental facts of expo-
sure meter usage. Chief of these, and the one from
which all others derived, was the fact that the reflected
light meter is designed to give an immediately usable
reading only when trained on average-toned subjects. On
direct readings of other subjects (light and dark toned),
and on substitute readings for the subject (the gray card
method), we found that certain compensations of expo-
sure from that indicated by the meter were necessary.
These were:

DIRECT READING

Light toned subjects: Reading too high. Give 1 to 2
stops more exposure than meter indicates.

Dark toned subjects: Reading too low. Give 1 to 2
stops less exposure than meter indicates.
GRAY CARD READINGS

Light toned subjects: Reading is for average sub-
ject and slightly low, since gray card has average reflec-
tance (18%) always. Give % stop less exposure than
meter indicates.

Dark toned subjects: Reading is for average subject
and slightly high. Give % stop more exposure than meter
indicates.

After following through these fundamentals, we then
considered what compensation might be necessary for
a side lighted subject (none, if read half on highlight,
half on shadow) and a back lighted subject (^4 to 1
stop less exposure than a reading on shadowed area) .
With these fairly fundamental exposure problems behind
us, we are ready this month to move on to others — per-
haps slightly less common. These are, in order:
LIGHT BACKGROUNDS

Your meter, you must remember, cannot reason. There-
fore, when you point it at a certain scene, you must expect
it to take into account all of the light values within its
angle of view. (This factor, angle of view, is essentially
the same as that of your standard camera lens). If,
therefore, this angle of view includes a large area of light
toned background, your meter will react sharply to it.
Your reading will be too high.

Fig. 1 illustrates this condition neatly. Here, a direct
reading from the camera position would underexpose
the delicate flesh tones of the girl's face. Thus, the cam-
eraman has moved close in to his subject and reads only
the light reflected from her face. Then, with that reading
in hand, he recalls his lesson from last month: Light
toned subjects should get more exposure than the meter
indicates. His ultimate aperture, therefore, might be %
to 1 stop larger than the meter calls for.
DARK BACKGROUNDS

The effect on exposure of a dark background will be
just as pronounced as a light one — but, of course, in the
opposite direction. If the young bathing beauty in Fig. 2
were to be filmed with the exposure indicated by the
meter, her skin tones would be badly overexposed and all
of the detail would be washed out.

For with the meter in its present position, it is scan-
ning far too great an area of the dark background, thus

pushing its reading far down on the aperture scale. One
corrective method would be to move in close enough to
read only on the figure — as was done with Fig. 1. But in
this instance such procedure might be bothersome. Far
easier would be to take a reading on a gray card (held
in the same light as the subject) and then allow % stop
less exposure to compensate for the light subject.
COMPOSITE BACKGROUND

The situation in Fig. 3 presents, another problem. Here,
since the scene will be at least at medium shot distance,
exact exposure on the model is not so important as in
the closeup Fig. 2 shot. Thus, our need now is to compute
an effective exposure for the scene as a whole.

But as a whole this scene — as are so many — is com-
prised of alternate areas of extreme light and shade.
Unless these areas are exactly equal (a most difficult
matter to judge), a camera-position reading is likely to
favor one area and slight the other.

Some substitute method seems indicated. Again, a
gray card reading in comparable light will give a good
average toned exposure. But you might be without this
accessory. In such a case, it will be well to read from
close in on the lightest tone in the scene (probably the
girl's face) and then open up 1 full stop from the meter
reading.

SCANNING THE HAND

Other amateurs (and some meter manufacturers) sug-
gest scanning the hand (see Fig. 4) as a convenient form
of substitute reading. This, too, is a workable system;
but like many another it must be carefully controlled.

To begin with, there is the matter of background. It
is often difficult to hold your meter close enough to your
hand to avoid all background effect. Then, if the back-
ground is dark (as in the left of Fig. 4), your reading
will be low; if it is light (as at right), it will be too high.

Let us suppose, however, that you are taking a reading
so close that it is unaffected by background. There is
still the problem that very few hands (unless darkly
tanned) have a reflectance as low as the average of 18%.
Thus, if you do scan the hand, you will need generally
to open up 1 full stop from the aperture indicated to get
an average exposure.

IN FILMING FLOWERS

And now let's apply these exposure ideas to some of
the more popular subjects of personal filming. People,
of course, are the chief of these, so that throughout these
discussions we have used flesh tones as the primary ref-
erence.

But flowers are undeniably another first favorite; and
here especially accurate exposure is necessary to recreate
their full beauty. We will find in filming them that much
the same exposure advice applies. Readings must be taken
close enough so that background does not affect the re-
sult. And color tones must be considered.

A red rose, for example, is of average tone, and a
reading of its reflectance may be used directly. But the
majority of flowers are on the lighter side in tonal value.
Yellows, light blues, pinks, orchids and oranges — all of
these will require use of a larger aperture than the meter

257

FIG. 1: The white background would, if within meter's scanning
angle, underexpose girl's face. A close reading is called for.

FIG. 2: Even at this angle of view, the dark background would
seriously overexpose subject. Situation calls for substitute.

FIG. 3: A composite background of strongly dark and light areas
can be confusing. Read lightest tone (girl's face) and open up.

says to maintain their light colors. An extreme of this
need is seen in the rendering of the white hydrangeas
in Fig. 5. Two full stops more than the meter indicated
were used to create the normal white tones on the right.
Failure to compensate in this way would result in the
muddied tones on the picture's left.

FIG. 4: Scanning the hand is popular substitute reading sys-
tem. However, light flesh tone usually calls for 1 stop extra.

FIG. 5: Filming a flower is no different from picturing a per-
son. Light yellows, blues, pinks, orchids and orange need light.

FIG. 6: Only accurate exposure of dress fabrics will recreate
true tone, texture. Note too brilliance of flesh tones at left.

FILMING FABRICS
Often, even in family filming, an accurate color rendi-
tion and sense of texture is important in picturing peo-
ple's clothes. Fig. 6 bears out the same exposure lessons
we have learned earlier. The relatively light colored
fabric of the girl's skirt will result in too high a direct
reading by the meter. To retain the lighter color, ap-
proximately % of a stop more exposure was allowed
than was called for by the meter. If this correction had
not been made, the clouded result seen at right in the
composite print would have been the disappointing result.

258

WHERE WAS I? The author, immersed in the usual immaculate
order of any editing session, tries to recall just who took what.

YELLOWSTONE BY THE YARD

Use commercial color, urges this amateur, to patch those gaps in your vacation pictures
JOHN B. NEWLIN, ACL

I PLEAD guilty! Yes, I plead guilty to mixing commer-
cial film with my own Kodachrome to complete movie
records of my vacations. A filming friend tells me this
practice is unethical; others say it is positively immoral.
But before I'm found guilty of high treason and read out
of the lodge, please hear my side of the story.

Why do you take vacation pictures? To some camera
nuts the whole thing seems to be a mere exercise in ama-
teur skill — purely a chance to show how good (or how
bad) they are with meter, filters and camera. But to me
and (I hope) to most of us in the ACL, vacation footage
has an entirely different purpose: Its primary end and
aim is to help us re-live, and help friends to live with us,
the pleasures of the trip. A color record of that beach
vacation in 1950 or the mountain trip in '49 certainly
makes nice viewing during the blizzards of '51 !

So I contend that anything which adds to the interest
of my vacation film record may be used legitimately. A
good script or preliminary plan, good editing, good
titling, good camera work, all these come under this head.
And so does judicious use of good commercial color!
Here's how I see it . . .

Back in '47 I had to leave Colorado's Royal Gorge
without shooting a frame because instead of sun I had
clouds — lots of clouds. I might as well have exposed my
color film in a darkroom as under that light. So today
I can tell my friends about the gorge, one of the high
points of the trip, but I can't show them. For there is not,
as far as I have found, any commercial color of this sub-
ject on the market.

But the boughten footage has saved me from many
similar disappointments since then. The commercial
cameramen and a few lucky amateurs can hang around
long enough to carry out an intricate shooting schedule
covering all the highlights; they can then add two or
three days of waiting for the right light from the right
direction to get the entrance to a pueblo in New Mexico
or the governor's mansion in Williamsburg. But me . . .
No! On account of time, budget and consideration for
other members of the party, / can't. I have to keep mov-
ing, and sooner or later (mostly sooner) I have to get
back to work.

"Well," says some bright boy in the back row, "why
do you even bother to take a camera along?" For several
reasons. In the first place, commercial color film is gen-
erally available only on our national parks, monuments
and a few major cities. All of the connective sequences —
the charming roadside waterfall, the flock of sheep on the
road, the ancient character at the little store — are mine
and mine alone to photograph.

In the second place, commercial footage is almost al-
ways free from identifiable human figures. It supplies you
with plenty of scenic long shots, but you can have a field
day (or days) using your ingenuity on medium and
closeup shots for the running gag and other features
which make the trip personal.

For example, say your running gag is someone writing
those innumerable "having-wonderful-time" postcards.
This sequence might open with the lady (Yes, I know:
"She ain't no lady. She's my wife!") writing, followed

by a closeup of the card she is writing. So far this stuff is
mine. But we cut now to a medium shot showing a geyser
cone as it spouts some steam (commercial), and then a
closeup as the lady looks up with interest (again mine).
The climax comes as Old Faithful (presumably taken
from the lady's viewpoint) erupts in its familiar majesty
— and this is all commercial. Toward the end, as the
geyser begins to die down, I return to my untiring tourist
as she finishes the card . . . Now. even if the weather
had prevented shooting this nonsense on the spot, I could
have relaxed. For I still had the really important parts
back home in a can.

At first glance, it might seem that this procedure would
create an unholy mess in editing (see our illustration!) .
But in general it's no more complicated than assembling
most other productions in final form. While it is seldom
advisable to intercut commercial and personal shots of
the same subject from the same angle or distance, there
should be little difficulty when intermingling the two less
directly.

Perhaps one editing problem should be mentioned,
however. With all of your own footage (assuming that
it's still the original and has not been duped), the emul-
sion (or dull) side of the film will face outward on the
reel — and thus upward on the splicer. With commercial
footage — if it is a so-called "first dupe" printed directly
from the original — the emulsion side of the film will face
inward on the reel and downward on the splicer.

In editing, this will mean that, in splicing a strip of
commercial into original footage, no emulsion scraping
will be necessary. The shiny (or base) side may be spliced
directly to shiny side without further ado. In projection,
the use of first dupes with original footage will make
necessary a slight readjustment of focus between the two,
since the image is carried on opposite sides of the base.

However, you are unlikely to encounter either of these
changes in technique. To preserve the precious original
footage, commercial color copies generally are printed
from so-called master duplicates. This operation auto-
matically returns the image to [Continued on page 267]

259

A TWO-WAY TITLING CHART

For 8 or 16 millimeter cameras, the chart below is an invaluable aid in all title making

Designed for MOVIE MAKERS by JOHN E. CLOSSON, ACL

LAST JANUARY, under the heading of A Titling Tell-
All, we presented in this place an all-purpose titling
chart designed by John E. Closson, ACL. Through
no fault of Mr. Closson, we stated then that his chart
might be used with equal facility for either 8mm. or
16mm. cameras. This was in error. Mr. Closson's chart
as then diagramed was designed for direct use with 8mm.
cameras only — a correction which we stated in words as
soon as possible thereafter.

Mr. Closson, however, has done a far better thing.
Although now busy as a lieutenant of engineering in
the United States Navy, he has generously found time to
redraft his original design so that, as he puts it, "our

readers might have a correct chart which may be used
for either 8mm. or 16mm. cameras." We are pleased to
publish it herewith. And, for those just joining the
class, here's how it works. . . .

We begin by assuming that you, the title maker, have
determined two facts in advance as you approach your
project. These are (1) the width of the titling area you
intend to use, and (2) the focal length of the lens you
intend to use. From these known figures, the chart will
guide you in determining all other data necessary to the
job in hand.

In the example diagramed we have taken 4 inches as
the width of the title card de- [Continued on page 268]

37.5 mm ■

-75mm

NOMOGRAPHIC TITLE CHART

60 -

10"

THIS CHART 6IVES THE DIOPTERS OF AUXILIARY
LENSES AND THEIR DISTANCE FROM THE TITLE WHEN

50 -

THE TITLE WIDTH AND CAMERA FOCAL LEN6TH ARE

KNOWN. FOCUSING MOUNT LENSES ARE SET AT

14 -|

25 mm -

- 50mm

INFINITY WHEN AUXILIARY LENSES ARE USEO.

13 "

40 -

12 -

II -

10 -

30 :

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ALL-PURPOSE TITLING CHART, now functioning for both 8mm. and 16mm. cameras, reads from wide angle to 3x telephoto lenses.

260

AUGUST 1951

';:V-:

Talking

about

Movies

. . . i/owr ftasic tool is your
camera. Choose it carefully!

A movie camera, however simple it is
to operate, is not a simple instrument.
A camera must move film— stop it—
expose it— move it on and repeat the
whole process anywhere between 8
and 64 times every second. To build a
camera that will perform these com-
plex operations perfectly requires
painstaking design, the most consci-
entious workmanship.

In other words, quality is the first
thing to look for in choosing your
camera. And the best place to find
camera quality is in these 16mm mag-
azine-loading Bell & Howells.

The following features will help I
you make better, more ambitious §
films. m

<~ .

WS ^;;|

II ■■!! 11

: ::

B&H Auto Load

16mm Magazine loading camera with
1-inch f/2.5 Filmocoted lens, $189.95

Simple magazine loading enables you to slip
film in quickly . . . interchange in mid -reel
without fogging a single frame.

Five operating speeds . . . you can shoot from
a car, slow down sport scenes, prepare for
adding sound. Speeds are -precisely cali-
brated at 16 (normal) , 24 (sound) , 32, 48 and
64 (slow motion) frames per second.

Built-in exposure guide provides a help for
making correct exposures. Comes in mighty
handy when you've forgotten your light me-
ter or are simply in a hurry to start shooting!

Positive ViewRnder always shows you ex-
actly what you'll get on the screen. It elimi-
nates "amputating" — cutting off a vital part
of the scene.

B&H Auto Master

16mm Magazine loading turret camera
with 1-inch f/2.5 lens only . . . . $249.95

3-lens Auto Master Turret gives you instan-
taneous choice of lenses. With the viewfinder
objective rotating into position with each
lens, you're ready to shoot with any lens in-
stantly. You'll use the turret to add variety
to all of your films !

(The Auto Master has all of the features of
the Auto Load.)

MOVIE MAKERS

261

;

B&H Direct Focuser, $32.50

Through-the-lens focusing gives you accurate
framing and needle-sharp focusing for your
super-precision work. The direct focuser in-
serts in place of the magazine in both Auto
Load and Auto Master, can be used when the
camera is on a tripod.

Combination Carrying Case

Combination Carrying Case. This smart Lon-
don tan genuine leather case is of sturdiest
construction and protectively lined inside.
Ample space provided for extra lenses, objec-
tives, filters, film, etc. For Auto Load, $20.95;
for Auto Master, $26.95.

Sturdy All-Metal Tripod

. . . assures you of rock-steady movies. Has
tilt head for either independent or combined
panoraming and tilting. Legs are adjustable,
and tripod feet are spurred for outdoor use,
rubber tipped for indoor. $47.50.

Starting a lens family
of your own.o.

.7 inch T 2. 7 (f/ 2. 5)

Extremely wide angle
view — accentuates dis-
tance. $89.95

1 inch f/1.4

Gives perspective of
human eye— extremely
fast. $179.95

2 inch T1.6

(f/1.4)

Medium tele-
photo— perfect
for indoor tele-
photo work.
$179.95

2.8 inch T 2.5

(f/2.3)

Telephoto-T
stopped for exact
light measure-
ment. $182.50

4 inch T2.5

(f/2.3)

Powerful Tele-
photo— for use
under adverse
lighting. $209.95

You choose a lens for what it does . . . wide
angle, telephoto, or perhaps a lens that is
simply fast. BUT— don't assume just any lens
will perform its primary function, which is
to transmit to the film a clear, well defined
image, with the color values just right. The
quality of every member of this lens family is
second to none in the 16mm field.

Prices subject to change without notice.

Guaranteed for life.

During life of the
product, any defects
in workmanship or
material will be rem-
edied free (except
transportation) .

Give your

Auto Load

a 3 lens turret. . .

buy for life
ken you buy

Bell ^Howell

at this new low price. Now your Auto
Load can have all the versatility offered by the
Auto Master 3 lens turret, and for only $59.95!
This special price includes installation but not
extra lenses. Price returns to $75 September 1,
1951. So see your Bell and Howell dealer today.

262

LET'S CHANGE THE FOCUS!

Put the family in your films, pleads this picture maker.

To a generation from now, people will mean more than places
LAURENCE CRITCHELL

GRANDMOTHER'S faded love letters, tied with a
blue ribbon and put away to yellow in some attic
trunk, make an amusing find when they turn up
a couple of generations later. So do those snapshots
Grandfather made with a Hawkeye at the turn of the
century, when Mother dressed in crinoline and small
boys still wore short pants. But pity those in the new
generation who discover these old movies that you and
I are storing away. For it's just possible that all they
will find is a demonstration of technical excellence.

I was taught a little lesson about this not long ago.
The lesson actually began some twenty five years before,
when I was ten. Rather incredibly, at that age of wide-
eyed sophistication, my father gave me a Cine-Kodak
B for Christmas; and the following summer (being well-
heeled in those days) he took the family to Europe. As
a young man of whom much was expected, / was charged
with making a pictorial record of the trip. I did this with
such success that for years afterwards, to my mother's
discomfiture, Father dragged that film out whenever we
had company.

Mother finally got it put away in an old trunk, where
it acquired, over a quarter of a century, a faint odor of
violet sachet. Finding it after the passage of so many
years was a memorable experience. Especially for my
wife, who had heard too many unverified tales of her
husband's youth. I confess that my fingers trembled a
little when I threaded that film into the projector. There
it was, that summer of early youth, of short skirts, Pro-
hibition and the Grand Tour, waiting to come alive again
at the turn of a switch.

Well, I blush to tell about it. The film began with
scenes of shipboard on the old Conte di Savoia. The
Savoia looked much like any other ship. Naples had
changed hardly at all in a quarter of a century. Vesuvius
had scarcely aged; the Grand Hotel of yesterday was
the Grand Hotel of today; and Sorrento, which had been

Lionel Green from Frederic Lewis

PICTURING "WHO" as well as "Where" will add more interest to
your travel films. Camera here should show deck-chaired figure.

the same for centuries, was — of course — the same. My
scenes of Rome and Florence were no different, except
that the Nazis had destroyed some intolerably dull bridges
which, at the age of ten, I had taken pains to record.

Only twice in that film did we catch a glimpse of what
we had been waiting to see — my family. We stopped the
film. We ran those scenes over again. We drained them
of every last drop of nostaliga. But in the end we had
to go on, and for the remainder of the movie we sat
through interminable scenes of the unchanged and un-
changing Italian lakes, the ancient Place Vendome, the
perfectly preserved Gardens of Versailles, and a score
of other "subjects of interest" which, a quarter of a
century later, could still be filmed almost exactly as I had
filmed them.

I learned a lesson from those films that I don't intend
to forget. I wish I'd learned it earlier. I know now, for
instance, that the records I made of our honeymoon
would be a great deal more interesting to us in our
mellow years if I had not been so concerned with those
interesting cloud formations over Hamilton Harbour and
the technically sound continuity I contrived to keep
things going. I wish that I'd included Mary or myself
or both of us in every one of those 800 feet. For Mary
has changed since then, and so have I — but Bermuda
hardly at all.

I wonder how many others are making this same mis-
take? It's a perfectly understandable mistake — at least
that's what I tell myself. Grandpa with his old Hawkeye
was scarcely capable of much technical competence; he
had all he could do to center his subject in the view-
finder. But the subjects were almost always his family and
his friends and even himself; whereas, it seems to me
that we moderns, who have so many technical facilities
at our disposal, have begun to mistake the means for
the end.

I hasten to say that I'm not advocating any return to
photographic incompetence. I don't like to sit through
hours of fast pans, bad exposure and faulty continuity,
any more than the rest of us. And I'm not one of those
who believe that a return to old fashioned plumbing and
the one horse shay would automatically solve all our
problems. But I do maintain, on the basis of my own
sad experience, that in our desire to turn out profession-
ally meritorious movies, we're losing sight of a primary
objective, the real dividend of amateur movies — a living
record of ourselves as once we were.

Mary and I will never have another honeymoon like
that first one. But I know how I'd film it if we did. The
devil take the main street of Hamilton — unless she's the
star performer. The devil take the hotel — unless she's
going out or in, or we're sitting together on the terrace
having a cool drink in the warm summer afternoon. No
more clever sequences of sailing in the harbor— unless
they're to show how she does it. And lots of clasped hands
(ours) and sand oozing through the toes of bare feet
(hers) and fingers buttoning jackets, and bellboys carry-
ing our luggage in and out. [Continued on page 267]

263

BAIT FOR BABY

You having trouble getting your
toddler to "give" with those winsome,
one-in-a-miilion expressions for your
closeup camera? Would you like to
put more action — and controlled ac-
tion, at that — in those pictures of
your pet? Then add to your accesso-
ries one more filming gadget — a fish
pole!

Here's how we use it. First line up
your subject in some simple, attrac-
tive and well lighted setting. Now set
up your camera (a tripod or an
assistant is mandatory) to include
just the pleasing closeup you want to
picture. Make your usual adjustments
for exposure and focus — and now
reach for the fish pole.

At the end of its line, instead of
the customary lure, attach some ob-
ject suitable to the subject in ques-
tion. For the baby we've baited up
with her bottle; for two-year old
Cody Carson a lollypop becomes the
hook. In either case the action which
results as these lures are dangled
above your subject — but just out of
the camera field — is appealing indeed.

And, by the way, kittens, puppies
and other pets respond just as quickly
to this come-on. Better dig out your
fish pole and try it.

J. M. Sheppard, ACL
Quito, Ecuador

BIG BROTHER

It occurred to me that your tech-
nically minded readers might be in-
terested in the accompanying shot of
GE's giant, 50,000 watt flood bulb,
one of the largest incandescent lamps
in existence. Despite its huge size, the
bulb is in essence a big brother to the
amateur's own Photofloods, since it
is carefully color balanced at 3350°
Kelvin, just a negligible 50 degrees
lower than the 3400° K of No. 2
floods used with Type A Kodachrome.
The big fellow creates, however, ap-
proximately 80 times as much light
as one of the No. 2 lamps.

Cecil DeMille, another good movie
maker, used two of these 50,000 watt
units recently in illuminating a huge
circus "tear-down" scene for his
Greatest Show on Earth. He was able
to employ incandescent lamps with
his Technicolor cameras (instead of
the hotter, noisier arc lights) because

50,000 WATTS— equal to the light output of
80 No. 2 Photofloods— is strength of GE's larg-
est incandescent, modeled by Betty Hutton.

of recent changes in the speed and
color balance of this 35mm. color
stock.

That lady with the lamp is prob-
ably Betty Hutton, who also has
something or other to do with the
production.

E. J. HlLE
Lamp Department
General Electric Company
Nela Park, Ohio

DUAL PICKUPS-SINGLE CONTROL

Although the majority of dual turn-
tables pictured in Movie Makers
seem to have individual volume con-
trols for each pickup, it has seemed
to me that their operation would cer-
tainly be simpler and possibly
smoother if a single control governed
the volume of both pickups.

I have, therefore, adapted the
familiar changeover fading circuit
used in all projection booths where
two projectors and their sound out-
puts are to be interchanged. Rotating
the control shown in the diagram first
fades down the output from pickup
No. 1, then fades up the output from

SOUND IN SEPTEMBER

"The Reproduction of Sound: 4,"
previously scheduled for this issue of
Movie Makers, has been held over
until September to coincide with im-
portant new developments in the field
of magnetic sound on film.

Be sure to see September Movie
Makers for the first authentic news
on magnetic sound on film since its
announcement in this magazine in
March, 1948— The Editors.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.
Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

pickup No. 2. In this way there is no
chance of an irritating overlap of the
two recordings. Also, operation of
the switch requires the use of only
one hand, leaving the other free for
the projector.

Stanley W. Cleland, ACL
Dunedin, New Zealand

EDITING AID

An old, but still the quickest and
perhaps the cheapest, way of assem-
bling an editing aid is to string a
series of common, spring-type clothes-
pins on a cord and stretch it across
the rear of your editing bench about
2 to 3 feet above the surface.

Numbers written in ink on the flat
face of each clip will identify your
scenes. Since the clips are approxi-
mately % inch in width, you can get
60 clips on a 30 inch length of cord.
An advantage over the compartment
box or pin board editing units is that
the cord and clips may be rolled into
a small, compact unit and stored in a
drawer or other out-of-the-way place.
Alan Mack, ACL
Binghamton, N. Y.

AMPLIFIER LEAOS

A/WW\A\\

PU*I

CHANGEOVER CIRCUIT, providing for smooth
shift from one pickup to another is diagramed.

264

PARTICOLORED PUMICE, eroded by wind and rain into spires hundreds of
feet high, are found along Pinnacle Road near east entrance of park.

LLAO ROCK (left): It was from this 1000 foot cliff, legend tells us,
that the god Llao's body was cast into the lake during Indian wars.

COLOR IN A CRATER

FELIX ZELENKA

SINCE Crater Lake posed for its first photograph in
1873, its beauty has gained it a high place among
the nation's scenic wonderlands, attracting countless
sightseers to picture it on canvas and on celluloid. Today,
78 years after Peter Britt, a southern Oregon pioneer,
photographed Crater Lake for the first time on a daguer-
reotype plate, it is still considered one of the finest regions
for photography in the land. Rare indeed is the tourist
who comes to this scenic setting without his camera.

GEOLOGICALLY SPEAKING

Though the ages have made this beautiful lake a symbol
of tranquillity, it clearly came into being during a period
of great volcanic violence. And yet exactly how it came
about is still under discussion.

The lake rests in the very heart of the mighty peak

t, <*■

THREE IN ONE: Near to Rim Village, this building is HQ for Crater
Lake Park, Oregon Caves and Lava Beds National Monuments.

of Mount Mazama, often jokingly referred to as "The
Mountain That Blew Its Top." But geologists tell us that
quite the opposite seemed to have happened and that the
deep cavity owes its origin principally to a collapse or
engulfment of Mazama's mountainous peak. In either
case, the visitor finds he must ascend extensive slopes to
view the lake lying in a deep crater. And there is no
question but that this rim is the remnant of an ancient
mountain which once stood more than 14,000 feet high.
The water of Crater Lake was from the beginning
derived from rain and snowfall over this depression. The
lake is not known to have any outlet except by seepage.
Happily, however, the conditions of evaporation, seepage
and precipitation are in such a perfect state of balance
that the accumulation of water remains at approximately
the same level.

FAMED FOR ITS COLOR

Probably the outstanding characteristic of Crater Lake
is the color of its water. The brilliance of its deep blue
hues, framed amid the shallower green areas along its
margin, create a body of water exceptionally favorable
to color filming. This color is thought to be caused chiefly
by the scattering of sunlight in water of exceptional
depth and clarity, from which the blue tones are largely
refracted back, while the light of other colors is asborbed.

The lake itself is 6 miles in diameter and has an average
depth of 2000 feet. Its circular shoreline is 26 miles long
and is crowned on all sides by multicolored cliffs which
rise 500 to 2000 feet above the surface of the water.

Also characteristic of this primeval setting is the mag-
nificent forest stand that surrounds the area, situated as
it is on the crest of the lofty Cascade Range. Vast acres
of cone bearers and other species favor these high alti-
tudes, to create the 250 square miles of picturesque wood-

265

Photographs by Felix and Nikki Zelenka

St fr

COMING ON CRATER LAKE in 1853 while searching for a lost mine, John
Hillmdn saw it first from about this point. Wizard Island is in center.

lands which comprise Crater Lake National Park.

HOW TO REACH THE PARK

The Southern Pacific Railroad serves the park, running
trains over the Cascade route through Klamath Falls and
Medford. Connections with Crater Lake stages are made
daily at these points from July to September.

United Air Lines service from all points of the United
States to Medford is also available, while the Pacific
Greyhound buses serve these cities as well.

By automobile the approaches to the park are excep-
tionally fine. Motorists traveling north from Medford
may reach the park via State Highway 62, driving 80
miles through the scenic Rogue River country to the
west entrance; from Klamath Falls, it is 60 miles over
U.S. Highway 97 and State Highway 62 by way of the
south entrance. Southbound visitors may reach the north
entrance via U.S. Highway 97 from Bend, Ore., and
alternately by State Highways 230 and 209. The east
entrance also provides for travel from Klamath Falls and
Bend, and is usually open earlier in the season due to
less snowfall.

The post office is at the lodge, and mail addressed to
Crater Lake will reach its destination during the park
season. Rental cabins may be secured at the housekeep-
ing-accommodation office. Long distance telephone and
telegraph services are also available at the lodge, park
headquarters and at the various ranger stations.

ON THE RIM DRIVE
Before beginning your tour of the lake via the Rim
Drive, it is advisable to spend a few minutes at the in-
formation building. This structure is on the crater rim
just west of the lodge. Visitors [Continued on page 267]

RIM VILLAGE
Visitors entering the park from the south first reach
the rim of the lake at the Rim Village. This is the focal
point of park activities. Here the visitor will find the Rim
Campground, lodge, post office, cafeteria, general store,
etc. From the Rim Village a number of most important
trails lead to points of interest, including the spectacular
trail down the crater wall to the lake shore. This fine
path is 6 feet wide with a grade no greater than 12 per-
cent, thus presenting an easy climb even to those least
accustomed to physical effort. Its length is about 1%
miles and can be descended in approximately 30 minutes,
while the return trip to the Rim Village requires about
50 percent longer. Film this hike as a sequence.

Marked by its brilliant blues,

volcanic Crater Lake is the heart of
southern Oregon's famed national park

■

YEAR-ROUND SNOWS, left over from winter's heavy fall, melt
slowly to maintain Crater Lake's amazingly even water level.

266

AUCUST 1951

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

Radiant booklet More Brilliant
Projection, a
booklet distributed by Radiant Manu-
facturing Corporation, 1204 South Tal-
man Avenue, Chicago 8, 111., is available
free of charge. It discusses projectors,
lenses, seating arrangements, screens,
reflection and showmanship.

Marks dies Founder and president
of the Keystone Manu-
facturing Company, in Boston, Isidor
Marks died recently at the age of 63.
Mr. Marks was one of the pioneers in
the home motion picture equipment
field. He was also active in various New
England charities.

AnsCO booklet Color Photography
Made Easy, a hand-
some 98 page booklet just published by
Ansco, is now available at photographic
stores at 50 cents a copy. It contains
latest information on the uses and han-
dling of Ansco Color films and Ansco
Color Printon — both from the picture
taking and home processing points of
view. It is profusely illustrated in full
color and black and white and contains
a number of useful diagrams and charts.

New lenses Bell & Howell Com-
pany announces two
new lenses for use on 8mm. cameras.
A high speed lx/2 inch //1.9 Super
Comat telephoto. manufactured by Tay-
lor, Taylor & Hobson. is distributed
exclusively by Bell & Howell. A new
feature is the red engraved depth of
field scale, based on a circle of confu-
sion of .00075 inches. The focusing

WALTER BACH, at left of camera, demonstrates Auricon Super 1200 at showrooms of S.O.S.
Cinema Supply Corporation, Berndt-Bach agency in New York City.

A 3X TELEPHOTO for 8mm. cameras, designed
by Taylor, Taylor & Hobson for Bell & Howell,
has f/1.9 speed and red depth of field scale.

mount is calibrated from 2 feet to in-
finity in 14 steps. The lens has click
stops and reads from //1.9 to //22. It is
priced at $99.95.

A 6.5mm. //1.9 wide angle lens is
also available for 8mm. cameras. This
lens is designed with a fixed focus at
4 feet, so that with the aperture set at
//8 subjects from 1 foot to infinity will
be in focus. Price of this wide angle
lens is $79.95.

TenpllJS moves Tne new address
of The Tenplus
Company, makers of motion picture
accessories, is Warren, Pa. The com-
pany was formerly located in New
Jersey.

New films The nrm °f Beauty-in-
Motion Productions,
2020 Broadway, New York 23, N. Y.,
announces that it will produce fifty new
films during the next twelve months.
Production is under the supervision of
Boots McKenna, who formerly directed
the Earl Carroll Vanities. Prints will
be available in 8mm. and in silent and
sound 16mm. versions.

Heads NAPM E- S. Lindfors, vice-
president in charge
of eastern operations for Bell & Howell
Company, has been elected president
of the National Association of Photo-
graphic Manufacturers, to succeed F.
Glenn Hamilton, vicepresident of Pako
Company, Minneapolis.

Mr. Lindfors has spent his entire
business career in the photographic
industry.

New B&H 8 Bel1 & Howell's latest
addition to their
8mm. camera line is the 134-V, a new
member of the Sportster series. Prima-
rily, the camera comes equipped with a
Comat % inch //2.5 universal focus
lens. Other standard lenses available
are the % inch //1.9 B&H Super Comat

or the y2 inch //1.4 Taylor Taylor Hob-
son Ivotal, which are interchangeable
with 1 and 1% inch telephoto accessory
lenses and a 6.5mm. //1.9 wide angle,
all in focusing mounts.

The 134-V operates at 16, 24, 32, 48
and 64 frames a second and a single
frame release is provided. No threading
is required on this spool-loading instru-
ment, and the film gate closes auto-
matically as the camera door is closed.
Using ASA film ratings, the exposure
calculator reveals the correct lens set-
ting with a slight turn of a single dial.
The viewfinder shows standard and tele-
photo lens fields, and a booster elimi-
nates overexposed frames at the begin-
ning of a scene. A control also is pro-
vided which stops the camera automati-
cally the moment the spring motor has
run down too far to maintain proper
operating speed.

Light in weight but of rugged con-
struction, the 134-V is priced at $109.95
for the basic model; with % inch f/1.9,
at $139.95, and with y2 inch //1.4,
$194.95 — each price including tax.

FILMO 134-V, latest in Bell & Howell's 8mm.
cameras, features new finder, drop-in spool
loading, improved calculator at $109.95.

MOVIE MAKERS

267

Yellowstone by the yard

{Continued from page 258]

the outer face of the film, just as with
■one's original footage. I know that this
theoretical problem has seldom both-
ered me. For in this way I have scram-
bled 150 feet of my own Kodachrome
with 100 feet of commercial to make up
a production on Yellowstone and the
Grand Teton National Parks. And dur-
ing the process I often could not tell
which film was which.

In closing, two minor suggestions on
the use of commercial movies. You will
not, of course, "commercialize" it your-
self— that is, offer it as your own at any
screening where you are being paid or
where your picture is competing for a
prize as a wholly personal production.

Second, if at all possible, buy and
project the footage you intend to use
before leaving on your trip. You will
then be familiar with what is safely in
the can, which will help immeasurably
in planning your own sequences as a
frame to fit it. For example, a commer-
cial shot of a snowbank at Yellowstone
suggested to me on the spot a shot of
my wife writing with a stick in our
snow the legend "July 4." It wasn't the
same snow, but the difference between
a long shot and a medium closeup made
it look the same on our home screen.

So if this practice be treason, then
I'm guilty but unrepentant. Let's see,
what can I get on the Grand Canyon
in 8mm. Kodachrome?

Let's change the focus!

{Continued from page 262]

In other woids, I'd try to film what
I'd want to remember. And when you
come right down to it, that's a pretty
good rule of thumb. Consider a trip to
the Grand Canyon, for instance. Of
course it's nice to be reminded of what
the Grand Canyon looks like. But the
Grand Canyon is going to be the same
for a good many years to come, while
our youngster? — looking through tele-
scopes, scrambling over the red rocks,
shopping for beads, camping out to see
the sunrise — are going to grow up,
marry, have children of their own and,
for all I know, make movies of the
Grand Canyon.

Of course, good movie makers have
long realized that a travelog is of little
lasting interest unless it contains hu-

WANT TO JOIN A MOVIE CLUB?

man beings. But, at the same time,
these savants have insisted that the
good amateur movie must be kept im-
personal. Disregarding for the moment
their obvious contradiction in counsel,
what these persons really mean is:
Don't Film Your Family!

To which, after the disappointment
of my discreetly impersonal travel reel,
my answer is "Nonsense!" For filming
your family is exactly why you bought
your camera in the first place. So put
them in your pictures to your heart's
content. Put them in (as a travel filmer
far more experienced than I has al-
ready suggested) as "players," persons
playing out actions which are natural
to your travel backgrounds. Believe me,
I intend to.

For when those youngsters of mine
thread some future projector with Dad's
cinematic scrapbook, I don't want them
to find simply the Grand Canyon, the
pyramids of Gizeh and the Hotel St.
George. I want them to find what they'll
be looking foi — the comical spectacle
of Mom and Dad in what was known,
in the good old days of 1951, as their
heyday.

Color in a crater

[Continued from page 265]

are invited to make use of the in-
formation service available and to
examine the historical and botanical
exhibits found on display.

From here a modern paved highway
encircles the rim of Crater Lake. Many
breath-taking views and numerous ob-
servation points may very easily inspire
the filmer to devote too many scenes
to this trip. It is advisable to restrain
your desires and limit your filming
activities strictly to the most unique
views unless, of course, no concern is
given to film cost.

A daily auto caravan is conducted
by the naturalist staff along a portion
of the Rim Road. Movie makers accom-
panying the caravan will have an op-
portunity to capture many scenic views,
along with scenes devoted to botany,
geology and to the protection of the
forests.

WIZARD ISLAND

According to the legend of the Kla-
math and Modoc Indians, Wizard
Island, a symmetrical cinder cone ris-
ing 763 feet above the surface of the
lake, is the head of the Great God
Llao. His throne was once in the great
depths of the blue waters; but a war
broke out with a neighboring god and
Llao was captured. His body was cast
into the lake in fragments and eaten
by his warriors, the giant crawfish, who
believed it was their enemy. When the
head was thrown in, however, they rec-
ognized it and in their sorrow left it
where it landed. Llao's head still lies

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268

AUGUST 1951

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in the- lake, but white men call it
Wizard Island.

Today geologists tell us a more be-
lievable if less romantic tale, relating
that Wizard Island is merely one of
three small volcanoes which formed in
the hollow when the mountain peak col-
lapsed. As these vents choked and
cooled, the lake was born and the ris-
ing waters finally covered the other two
cones. But the third still stands out and
is called Wizard Island.

The island may be reached by boat.
A trail leads from the shore of Wizard
Island to its crater which is approx-
imately 80 feet deep and 300 feet in
diameter.

PHANTOM SHIP

Across the lake from Wizard Island
is another island called Phantom Ship.
It rises from the waters of the lake
as a twisted and strangely formed mass
of lava. Its shape strongly sugggests a
sailing vessel anchored off shore. The
illusion is especially impressive during
the late hours of the day or in bright
moonlight. The best views of the
Phantom Ship are obtained from the
launches on the lake or from Kerr
Notch on the Rim Drive.

Regularly scheduled trips are made
daily to both islands by two forty-
passenger launches. The boat trip,
about 15 miles long, is a splendid op-
portunity for another sequence for your
Crater Lake movie. The Wizard Island
launch makes hourly trips from 8:00
a.m. to 4:30 p.m., and during it a ran-
ger-naturalist describes to the passen-
gers the points of scenic and scientific
interest. The trips are carefully planned
and available at a small cost. Two trips
are made daily around Phantom Ship.

Rowboats and fishing tackle also are
available at the launch landing for
those who care to fish. The limit of the
day's catch is twelve per person. No
fishing license is necessary.

A two-way titling chart

[Continued from page 259]

sired. To determine the necessary
height of such a card, enter the chart
along the Width-of-Title-in-Inches scale,
place a straightedge on the 4-inch point
and align it with Pivot A. Reference to
the Height-of-Title-in-Inches scale now
shows that our title card must be 3
inches high.

Turning now to our other known
fact — the focal length of the lens to be
used — we shall need to determine how
far from the title card this lens (with
a necessary auxiliary lens) should be
to cover the area. We intend using,
let's say, the 25mm. lens on an 8mm.
camera, or the 50mm. lens on a 16mm.
camera. (In either case the coverage
will be the same, since each is an ob-
jective of 2x magnification on the cam-

era indicated.) Again entering the
chart along the Width-of-Title-in-Inches
scale, we place a straightedge on the
4-inch point and align it with the 25-
mm.-50mm. point on the Focal-Length-
of-Lens scale. (It will be noted that this
scale as now calibrated reads directly
for both 8mm. and 16mm. cameras).
Reading from the scale marked Dis-
tance-of -Auxiliary -Lens- From-Title-in-
Inches, we find that the correct camera-
to-card distance will be 20 inches.

There remains to be determined now
only the strength in diopters of the aux-
iliary lens to be used. Use of such a
unit is almost always called for by
fixed focus camera lenses. With the
use of a focusing lens (which the 2x
telephotos we have cited might well
be), the focusing scale is set at infinity.
In either case, the diopter strength is
determined by entering the chart along
the Distance-of-Auxiliary-Lens scale,
aligning the straightedge with Pivot B
and reading on the Diopter scale. In
our example the strength called for to
give exact focus and coverage at the
20 inch camera-to-card distance is 2
diopters.

Within the calibration limits of the
chart, all other combinations of title
width (from 2 to 11 inches) and lens
focal length (from wide angle to 3x
telephoto) may be computed in a like
manner.

Shoot

yourse

If!

[Continued from page 253]

era position set at the third point of
a triangle.

"THIRD MAN" IN A TWOSOME
But even the conversation trick be-
comes obvious after a while, so that
an occasional shot including you both
is called for. This means putting the
camera on a tripod and locking the
button in the "on" position. The snag,
of course, is that you have to run in
and out of the picture to start and
stop the camera. Usually this means
waste footage; but with ingenious
planning you can make even these
movements fit into the action. For ex-
ample:

1. Semi-closeup. Dave opens the
auto trunk compartment and . . .

2. Medium shot. Turns to help you
as you enter the scene with two hand
bags. These you set at Dave's feet, he
reaches for them and you retreat out
of scene as if for more luggage.

3. Closeup. Hands putting luggage
in car trunk and dropping cover.

Here both your entrance and exit
are motivated. But such action cannot
always be arranged so nearly. In these
cases, there are still other strategems.

First you can arrange to take your
exit shot at the end of a reel, permit-
ting the camera to run on. This as-

MOVIE MAKERS

269

sumes that you know to a foot or so
how much film is left to run. Later you
can cut out the shot and splice it into
the right place in your film.

The other scheme works only with
those cameras in which an automatic
stop device protects against gradual
slowing as the spring runs down, 'vvith
my Bolex H-16 — on which there is this
feature — I have found that one turn
of the winding crank drives one foot
of film. Thus, for a shot in which I
am to appear, this is the routine:

1. Cap the lens, note the footage
reading and then run down the spring
until the automatic stop operates.

2. Disengage the motor and back-
wind to the original footage reading.

3. Give the winding crank the right
number of turns for the footage to be
taken: i.e.. 5 turns for 5 feet, and so
on.

4. Uncap the lens, start the camera
and walk into the picture. At the end
of the 5 feet the automatic stop ends
the shot.

And, incidentally, if you wish to fol-
low with a similar shot, you will not
have to go through steps 1 and 2
again; for at this point the spring is
already run down.

THE TWO-MAN PAN
However, there is a simpler way of
getting you both in one continuous
shot. And it can be done with any
camera. I call it the "two-man pan."
Here again a tripod is essential. You
start the camera on Dave and pan
to the left (see Fig. 1). As soon as
he is out of the picture, you stop both
the camera and the pan movement
simultaneously. Then, while you stand
out of the picture to the left, Dave
starts the camera and continues the
pan to include you (see Fig. 2). On
the screen, this is the effect:

1. An auto approaches camera and
stops.

2. Dave leans out. shouts, and the
pan to you (Pete) begins.

3. End of pan on Pete as he gives
route directions.

The success of the two-man pan de-
pends on how smoothly Dave continues
the pan from where you stopped. The
camera and pan must be stopped and
started exactly together. Or, if there
is any overlap, it should be in favor
of the running camera, which footage
can later be trimmed to match the
pan movement. Any slight jerk is made
less obvious by choosing a fairly dark
background for the changeover. Also,
an out-of-focus tree trunk iri the fore-
ground may be even more effective in
covering the transition; but it is likely
to make the shot less convincing be-
cause it divides the two halves.

(The "swish-pan"' technique, de-
scribed in detail in Transitions for
the Travelog, July, 1950, would be
ideal for the ingenious effect here

suggested by author — The Editors.)

But do not rely too much on trick
shots like this. Even the straight shots
can be made to tie up by including
some connecting object. The two-man
pan above can be followed by a shot
of you taken from the far side of the
auto (see Fig. 3). Though Dave is not
seen in this shot, the front of the auto
suggests his presence. You can use all
sorts of things in this way — trees,
bushes, gates, fences and the rest.

But most of all use your own imag-
ination. It's lots of fun finding new
ways to "shoot yourself!"

THE EASY WAY TO

Book reviews

The Complete Book of Lighting, by
Don Nibbelink, FRPS, APSA. 256 pp.,
cloth, S2.95; Photo Arts Press, Midland
Publishers, Forest Park, III.

In The Complete Book of Lighting,
Don Nibbelink, a prolific writer on
photographic subjects who is presently
an Eastman Kodak Company author
and editor, covers photographic lighting
methods ranging from the common out-
door variety to that modern wonder,
the electronic speed lamp.

Movie cameramen will find the book
excellent browsing, even though the
subject of amateur movie lighting is
skimmed through in a few paragraphs,
summed up by the author's statement
that "lighting principles employed in
still photography also apply to motion
picture work."

The book holds much worth while
advice and information, for it gives the
answers to practically all lighting prob-
lems and swerves into related subjects,
such as the use of exposure meters, ef-
fects of exposure variations upon light-
ing, the importance of backgrounds, etc.
There is a revealing chapter on portrait
lighting which no photographer will
want to miss.

Learn to see photographically "be-
tween pictures," Nibbelink says. "It is
easy to copy and photographers must
be good copyists. Start with a fair no-
tion of what you want and push the
lights about until the lighting conforms
to your preconceived notions." Where
does one study good lighting? Why,
"walking down the street, riding on a
bus — or sitting in your living room!"

Don Nibbelink's book is steeped in
photographic lore. He goes searching!}-
into his subject and we can all drink
rewardingly at the fount of his knowl-
edge.— Leo J. Heffernan, FACL.

Leo J. Heffernan, a Fellow of the
Amateur Cinema League, is well known
far his definitive articles on lighting,
accompanied by illustrations made espe-
cially for this magazine.

GENERAL

ELECTRIC

270

Trenton With their June meeting,
the Trenton (N. J.) Movie
Makers closed their fifteenth season.
Newly elected officers for the coming
year are R. James Foster, president;
George W. Strickland, vicepresident;
J. George Cole, ACL,- secretary, and
Harold E. Cranmer, ACL, treasurer.
The evening's program included a
screening of Flora and Fauna in the
Adirondacks, by Randolph Ashton.

Meetings will be resumed next month,
after the summer recess. Filmers in the
Trenton area interested in visiting the
club or joining as members should con-
tact Mr. Cole at 212 Rosemont Avenue,
Trenton 8, N. J.

Johannesburg Members of the
Amateur Cine Club,
ACL, in Johannesburg, South Africa,
have in preparation a film on road safe-
ty, which is being produced at the re-
quest of the city authorities. The pro-
duction is under the direction of J. J.
Wedderburn, B. T. Smith, Charles
Adams, J. M. Morison and L. J. Ed-
wards.

La Casa meets A projection meet-
ing of the La Casa
Movie Club, at Alhambra, Calif., fea-
tured the following films: Farming in
Oregon, by Ralph L. Johns; Scenic
Wonderland, by Erwin K. Kendall;
Baie St. Paul, by Frank E. Gunnell,
FACL, and Kaleidoscopio, by Dr. Ro-
berto Machado, ACL, borrowed from
the ACL Club Film Library and pre-
sented by Charles J. Ross, ACL, of Los
Angeles's Jonathan Club.

Australia The Victorian Amateur
Cine Society, ACL, of
Melbourne, founded in 1936, has been
forced, after fourteen years in its orig-
inal location, to move its headquarters

H. W. Cramer

to the Y.M.C.A. in South Melbourne.
Highlights of the current season in-
clude the recent visit of John Calvert,
now acting and producing in Holly-
wood, who showed his film Gold Fever
and demonstrated the Auricon Cine-
Voice camera; presentation of the Na-
tional Amateur Film Award pictures
for 1948, an annual selection by the
Amateur Cine World magazine, in Eng-
land; a radio program on Sunday
mornings on which news of VACS ac-
tivity has been aired, and the custom-
ary screenings of members' films. We
send Good Luck to the VACS in its
new home!

Schenectady Members of the Sche-
nectady Photographic
Society, ACL, enjoyed an outing re-
cently at Top of the World, Lake
George, with the Glens Falls Camera
Club playing host to Schenectady and
other members of the Hudson-Mohawk
Camera Club Association.

Texas L. E. Hunt, ACL, secretary
of the Hub Cine Club, ACL,
in Lubbock, writes that the club has
begun work on a group production for
the local Community Chest. The film
will be produced on 16mm. Kodachrome
sound on film. Shooting will be carried
on at each of the ten local organiza-
tions supported by Community Chest
funds.

Long Beach Three screening ses-
sions, work on the
club production, a birthday dinner and
Past Presidents' Night have kept mem-
bers of the Long Beach (Calif.) Cinema
Club on their toes this summer. The
14th birthday festivities and Past Presi-
dents' Night were celebrated together.
The films screened on this occasion were
three national prize winners: Make

8-16 HOME MOVIE MAKERS, of Kansas City, Mo., listen to Dr. J. Vincent Tillman (standing) as
he introduces president John C. Sherard (seated right) at club's fourth annual banquet.

PORTLAND (ORE.) CINE CLUB new officers are
(front) Lillian Nelson, vicepresident; James
Hipkins, president; Lela Stortz, secretary; Pat
Ledwidge, programs; Peter Porco, retiring
president; Pat Callahan, membership, and
Al Huber, treasurer.

Mine Magic, by George A. Valentine;
Maxine's Career, by William Messner,
ACL; Father Plays Cameraman, by
Joseph Salerno, as well as Three Mexi-
can Gems, by past president Pat Raf-
ferty.

Other films screened recently at the
club were The Four Seasons at Yo-
semite, by Dr. B. C. Wildman, ACL;
Unfinished Rainbows, by Harold Schae-
fer; The Story of Blue Boy, by Jack
Helstowski; Eruption of Mauna Loa,
by Mitchell Dion, ACL ; Bryce, Zion and
Cedar Breaks, by Jack Lloyd, ACL;
Random Shots, by Jack Lowe; Armed
Services Day at China Lake, by Elouise
Horton ; Winter Scenes, by Forrest Kel-
logg, ACL, and Yosemite Country, by
, Joe Stoklasa.

New in Denver The camera en-
thusiasts of the
Gardner-Denver Company, of Denver,
Colo., have organized the Gardner-
Denver Camera Club, which is com-
posed of about thirty members at pres-
ent and includes a cine section. The
officers are Arnold E. Rapp, president;
George F. Brown, vicepresident and
program chairman; Henry T. Clark,
secretary, and H. C. Gustafson, treas-
urer. A. R. Bowen, ACL, president of
the Denver Council of Camera Clubs,
of which the new club is a member,
addressed the group's initial meeting.
Don A. Rittenhouse presented a lecture
and demonstration of photographic
equipment.

Mich. Council The Bay City

(Mich.) Movie Club
was host this year to members of the
Michigan Council of Amateur Movie
Clubs when they met for their annual
convention and election of new officers.
Chosen for the coming year were Kobe

MOVIE MAKERS

271

Vander Molen, of Kalamazoo, presi-
dent; Howard Yost, ACL. of Grand
Rapids, and Roger Lorenzen. ACL. of
Niles, first and second vicepresidents:
Theodore Franke, of Muskegon, secre-
tary, and Merrit Bisel. of Grand
Rapids, treasurei. Cornelius Rynbrand.
of Kalamazoo, Council founder, was
installation officer.

The banquet following the business
session was attended by 125 delegates
and members, who later saw the ad-
venture film of game hunting in the
Canadian Rockies by Louis McGregor,
of Flint. W. D. Hathaway, of Muske-
gon, also showed his film of the city's
Acquapades.

New in Canada A new movie

group has been
organized in Toronto under the super-
vision of David Palter, ACL. This is
the Cine Section of The Camera Guild.
Incorporated, of Toronto. Filmers inter-
ested in the activities which the group
has planned for the coming season
should contact Mr. Palter at 50 Otter
Crescent, Toronto 12, Canada.

Char lemon t New officers of the
Charlemont (Mass.)
Camera Club. ACL. for the coming
season are headed by Mrs. Alberta
Whidden, president. Mrs. Harold Mac-
Lean is secretary and treasurer. The
program committee is made up of Syril
G. Gould and Horace E. Warfield.

St. Louis Highlight of the summer
calendar of the Amateur
Motion Picture Club of St. Louis, ACL,
was the 15th anniversary banquet. New
club officers were installed and prizes
were given for the best films screened
at the club during the year past. Wil-
liam F. Gross succeeds Martin B. Mano-
vill, ACL, as president, with Sterling
Swor and Ruth Pankau as first and
second vicepresidents. Other officers are
Dr. George Williams, secretary; 0. H.
Stanton, treasurer, and A. J. Blume.
ACL, and E. C. Van Sickle, directors.
Art Shild was installation officer.

First prize in the 8mm. group went

RICHARD C. HARDCASTLE, right, retiring presi-
dent of the Movie Makers Club of Oklahoma
City, ACL. receives first Ralph E. Gray Achieve-
ment Award from president W. J. Crowe.

You get a big bonus
when you buy a

GRISWOLD

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GRISWOLD MACHINE WORKS

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'Two 3^ stamps for giant eatalope. State size

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Sales, Rental, Exchanges.

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EUMIG 88

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

ST A H L

EDITING AND TITLING SERVICE
33 West 42 St. New York 18. N. Y.

The Only 8mm Movie Camera with

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The Camera That Thinks for You!

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Color Corrected. An-
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16 mm & 8 mm

Tft&titot'PictcvieSy

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1 6 mm Reduced to 8 mm
8 mm Enlarged to 1 6 mm

16 mm Duplicates
8 mm Duplicates

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35 mm slide duplicates
and film strip service

/«** GE0- w- C0LBURN
1|PP LABORATORY, INC.

164 North Wacker Drive, Chicago 6, Illinois

ELECTRIC
BRAIN

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Popular in Europe for Years!
Now Available in the U.S.A.!

The outstanding Eumig S8 actually prevents incorrect
exposure whether you use 'color or black-and-white
film! The uniciue built-in coupled photo-electric cell
which controls the diaphragm opening automatically
regulates the correct exposure required.

Tn addition, you will find other technically advanced
features to bring professional picture quality to your
■Unm movies — precision clockwork motor with more than
average run, single frame release for cartoons and
trick work, continuous run lock to take pictures of
yourself, automatic film gate for simple threading
and precise frame registration, and wide range of
speeds for slow motion photography.

See the Eumig 88 at Your Franchisee! Dealer

or Write Dept. 210 for Free Booklet "Y"

Exclusive Distributor In The U. S. A.

CAMERA SPECIALTY
SO West 29th Street

COMPANY, INC. —
New York 1, N. Y,

272

AUGUST 1951

Classified advertising

| Movie Makers does not always examine the
equipment or fi'ms offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.

10 Cents a Word

Minimum Charge 52

H Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

| BASS . . . Chicago, offers a practically new 16mm.
E. & H. Specialist complete with 1" Lumax //1.9
coated in foe. mt., 17mm. Ansix f/2.7 coated in foe.
mt., 2" //3.5 Telate coated in foe. nit., incl. one
sync, motor and one wild motor, 2-400 ft. magazines,
carrying case. Professional Jr. tripod. List 83100.00.
Bass price $2100.00. Write or wire deposit for this
grand hargain. BASS CAMERA COMPANY, Dept. CC,
179 W. Madison St., Chicago 2, 111.

■ OVER 100 Animated Titles! 8mm., only 49(f;
16mm., only 690. Catalog Free!! SOLOMON KESS-
LER, ACL, 87 Lancaster St., Portland 3, Maine.

■ PRICE WAR— PRICE WAR. 200 reels of 8mm.
film, reel and cans like new, $2.00; 400 reels 16mra.
silent films, $2.50; 200 reels sound films, $5.00 a reel;
all films on reel and can; equal to new; we pay the
postage; sold on money back guarantee. Free listings.
ROYAL FILM SERVICE, Passaic, New Jersey.

■ BOUND volumes MOVIE MAKERS : Nos. 1 and 2
combined (1926-27) ; Nos. 4 through 15 (1929-1940) ;
$2.00 each plus shipping charges. F. G. BEACH, 466
Lexington Ave., New York 17, N. Y.

Q FILMOTION 8mm. editor, case. Like new. Best
offer. Also Bolex H-8 for sale. G. D. CHEEK, 129
Peabody, Jackson, Tenn.

■ FOR sale: Bell & Howell Freehead Tripod, like
new, S125.00; photo for $1.00. 16mm. Bell & Howell
Model D sound projector, equal to new, $150.00
ROYAL FILM SERVICE, Passaic, N. J.

|| WORLD'S largest selection of fine movie lenses.
All fully guaranteed and available on 15 day free
trial. These are only examples from our tremendous
stocks. We have the lens you need for any movie

making purpose. In focusing mounts for 8mm.

cameras 9mm. //2.5 Raptar wide-angle lens-

coated, $43.00; % in. f/1.9 Wollensak speed lens-
coated, $45.70; 1% in. //3.5 coated cine-telepholo,

$34.50. In focusing mounts for 16mm. cameras

17mm. //2.7 Carl Meyer wide-angle (coated),

$44.50; 1 in. f/l.S Wollensak speed click stops,
$91.50; 2 in. //3.5 Kodak Ektar (2x magnification),
$49.50; 3 in. //2.9 Hans Mayer telephoto, $54.00;
6 in. //4.5 Carl Mayer telephoto (6x) coated, $89.50.
Order today from BURKE & JAMES, Inc., 321 So.
Wabash Ave., Chicago, 111. Attention: M. M. James,
Jr.

FILMS FOR RENTAL OR SALE

■ NATURAL COLOR SLIDES, Scenics, National

Parks, Cities, Animals, Flowers, etc. Sets of eight,

$1.95; sample & list. 25ft. SLIDES, Box 206, La
Habra, Calif.

B NEW and used Television and library sound films
for outright sale. Single reels, $7.95 each. Reverse
image soundies, $1.95 each, three for $4.95. Brand
new straight image soundies, $2.95 each. Used fea-
tures, $25.00 up. Send for complete listings. LAW-
RENCE CAMERA SHOP, Dept. MM, Box 1597,
Wichita, Kansas.

| USED and new Castle films : 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

| FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 500.
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C, New York 16, N. Y.

H OLD TIME FILM COLLECTORS—HUGE LIST
RARE FILMS, POSTERS, STILLS, ETC., 250.
TRADES WELCOMED. FRIENDLY SERVICE, BOX
78, RADIO CITY POST OFFICE, NEW YORK 19,

N. Y.

^ 8mm. SOUND film at less than cost. Brand new
8mm. complete subjects on 200 ft. reels with 12 inch
33 1/3 RPM long play record to play on your LP
record player. Three subjects available : "Stray Lamb."
children's film; "Monarchs of the Ring," boxing
film; "Rasslin' Match," Amos and Andy cartoon.
Regular value, 87.95; our price, $3.95 each, postpaid
on cash orders. LAWRENCE CAMERA SHOP, 149
N. Broadway, Wichita 2, Kansas.

H ADD TO your own Alaska, Mexico or The Alps
of Europe movies 16mm., gorgeous color film origi-
nals, not duplicates, extra scenes taken while making
adventure pictures for national lecture platform —
many spectacular shots of game, glacier crashing,
volcanic eruptions, etc., in areas seldom reached by
man. Select as much as you wish at 250 to 400 a
foot based on quantity. Also rare color shots of
Shooting the Rapids in mountainous rivers and many
breathtaking action scenes of Eastern seaboard, Maine
to Virginia. NEIL DOUGLAS, Explorer and Lecturer,
Box 664, Meriden, Conn.

FILMS WANTED

■ CASH PAID FOR MOVIE FILMS OF ALL
TYPES REGARDLESS OF AGE OR CONDITION.
JOHNNY ALLEN, 19 Demarest Place, Maywood, New
Jersey.

I WE need 16mm. Kodachrome scenes of nature-
rivers, trees, flowers, the seasons, animals. No people.
Quick purchase of footage which suits our require-
ments. BOX 287, MOVIE MAKERS.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm., or 16mm.,
110 per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

0 TITLES! Beautiful, professional quality, custom
made, motion background, Kodachrome, budget titles
— for list price film plus small set-up charge ! ! !
Write for details: PERRIEN PICTURES, Inc., 1032-A
North Sixth St., Milwaukee 3, Wise.

■ 8mm. HOLLYWOOD TITLE STUDIO 16mm.
Complete titling service. Color and black and
white. SPECIAL DISCOUNT TO AMATEUR CINEMA
LEAGUE MEMBERS. Send 100 for Price List and
Sample. Address : 1060 North Vista Street, Hollywood
46, Calif.

H 16mm. SOUND recording, $6.00 per 100 ft.; also
sound pictures taken at home nearby only. Write
ANTHONY IOVINO, 8601 Commonwealth Blvd.,
Bellerose, N. Y.

H KODACHROME original of beautiful, inspiring
WASHINGTON, D. C. filmed to your order, or our
production. 50 ft. 8mm., $9.00. WASHINGTON
COLOR ORIGINALS, 1800-19th St., N.W., Washing-
ton. D. C.

THE ACL LEADER

Signature of a GOOD FILM

If you haven't yet ordered your ACL
leaders, you're missing all the glow and
sparkle that this beautiful color footage
will add to your finished films.

The 16mm. leaders are 14 feet, the 8's
are 7— but with the same running time,
of course. Both animated throughout. $1.50
for the Sixteens, a $1 for the Eights.

ORDER YOURS TODAY

to Werner Henze for False Fronts. Mr.
Gross won second prize for Navajo
Land. Kodachrome vs. Ansco, by S. J.
Bialson, won top honors in the 16mm.
class. The club's annual picnic was
held last month at Tilles Park.

New Zealand This year's Tasker
Cup competition,
sponsored by the Wanganui Amateur
Cine Society for selection of the best
holiday film of the year, was won by
Norman Parsons for his travel film,
Kawau. Runner-up was Dear to a Boy's
Heart, 8mm. Kodachrome by D. C.
Jarvis. The Manawatu Amateur Cine
Society provided three judges for the
occasion. Other films screened were
Auckland, by T. R. Wall; Tripping
Around, by L. M. Fairbrother, and
Beeches and Beaches, by Miss J. Lid-
dell; they had won third, fourth and
fifth places respectively.

Award in Okla. Richard C. Hard-
castle, president
for the past three years of the Movie
Makers Club of Oklahoma City, ACL,
has been announced by that group as
the first winner of the Ralph E. Gray
Achievement Award. The Award, which
was established by Mr. Gray in 1950,
will be made annually by the club to
that member who "makes the greatest
contribution to the advancement of
amateur movie making within the
club."

Mr. Gray, vicepresident of the Ama-
teur Cinema League and only two-time
winner of the Maxim Memorial Award,
was born at Pawnee, Okla., and re-
ceived a B.S. degree in chemistry from
the University of Oklahoma.

Chfcaqo The Hamilton Park Field-
house in Chicago was the
scene recently of a convention of the
Associated Amateur Cinema Clubs. A
competition for the best amateur movie
club booth was won by the Calumet
Movie and Slide Club, of Hammond,
Ind. Twelve clubs, members of the
AACC, competed for the award, which
was made on greatest number of visitors
attracted to the given booth for a period
of two hours. The Chicago Cinema Club,
ACL, took second prize.

S.F. memories The Cinema Club
of San Francisco
staged an Old Timers Night recently
when members' early films and other
old time movies and slides were
screened. The program included 1915
Panama-Pacific International Exposi-
tion, black and white slides made by
Matt Draghicovich; Yesterday Lives
Again, composed of old newsreel foot-
age made at the turn of the century;
Afield with Redfield, by David Red-
field, shot in 1924 with a hand-cranked
Eastman Model A camera; Looking
Backwards, by Charles Hudson, hunt-

MOVIE MAKERS

Whigam

273

GOLDEN GATE CINEMATOGRAPHERS, ACL, in San Francisco, install new officers above:
H. Ketjen, secretary; A. W. Balzarini, treasurer; G. A. Sohsr, master of ceremonies; R. Alexander,
vicepresident, and A. Hauschildt, president.

ing trips and news events circa 1928;
Shades of Bacchus, mystery thriller
written and produced by a group of
members in 1934, filmed by Mr. Red-
field, and San Francisco, City of Ro-
mance, filmed in 1935 by Russ Hanlon.

Seattle 8 VS 1 6 For its recent con-
test, the Seattle
Amateur Movie Club, ACL, was split
into two camps, the 8's and the 16's.
Each produced a film based on a single
theme outlined by the contest commit-
tee, which each group was to develop
on its own. The 8mm. group, headed
by Fred Herman, was victorious in an
ACL-decided bout over the 16mm.
group headed by Anchor Jensen, ACL.
The films in both cases were titled
Apartment C.

directors Erwin Downing, ACL, Elmer
Duerigen, Homer Jones, Elliott Otte,
ACL, and Walter Deer, ACL. Mr.
Jones was named program chairman,
while Bud and Mary Williams are host
and hostess.

Oak Ridge Snow White and the

Seven Dwarfs, not of
Walt Disney origin, was screened re-
cently before a gathering of the Oak
Ridge (Tenn.) Cinema Club, ACL.
This film was produced by Mildred
Dennis over a period of five years and
employed at one time or another fifteen
children in the cast, the dwarfs being
acted by seven boys ranging in age
from four to seven years. Some 15,000
persons are reported to have seen the
film thus far.

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- FOR MOVIE OR TELEVISION WORK —

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shifting image.

This lens comes in C mount for 16 mm ca
Fitting to other cameras upon special order.

Sizes available now: 35 and
and 75 mm coated.

50 mm uncoated

Write for prices, giving your dealer's name.

Toledo elects Henry J. Augur,
ACL, became pres-
ident of the Toledo Cine Club, ACL,
in a recent election. George Brand,
ACL, is first vicepresident, and Mrs.
Freeman Enbody is second vicepresi-
dent. Freeman Enbody, ACL, is secre-
tary, while Charles Van Roosmalen is
treasurer.

Rochester Spring gatherings of the
8mm. Club of Rochester,
ACL, N. Y., have been divided between
the club's own production, The Sales-
man's Siberia, and study of members'
and other films. Among the films shown
were Squeaky's Kittens, by Walter
Bergmann, FACL, and Plymouth, by
Oscar Horovitz, ACL (both borrowed
from the ACL Club Film Library) ;
World's Fair, by Charles Haefele;
Beach and Home, by Walter Jablonski;
North Pole, by R. G. Stalker, and Lilac
Time, by Julian Wojak, ACL. An addi-
tional film, New England Holiday, pro-
ducer not given, was also screened to
stimulate interest in vacation filming.

Cincinnati Officers elected to guide
the Cincinnati Movie
Club during the coming season are
B. C. Scherzinger, ACL, president; Dr.
Joseph Crotty, ACL, and Carroll Lit-
tell, ACL, first and second vicepresi-
dents; Gertrude Hairston, ACL, secre-
tary; Edith Schwartz, treasurer, and

Vailsburg guest William Mess-
ner, ACL, was
guest of honor at a late spring meeting
of the Vailsburg Cine Club, ACL, of
Newark, N. J. The program consisted
of Mr. Messner's 1950 Ten Best winner,
Hands Around the Clock; Trip to Ot-
tawa; The Hunter and Maxine's Career.

Two weeks to

g°

[Continued from page 255]

effective light in the limited fields we
were photographing without drawing
excessive current.

TITLING AND EDITING
At the end of the second day we had
put a total of 600 feet of Hypan
through the Special at 24 fps. While it
was being rushed through the process-
ing laboratory, an artist friend had
hand-lettered the main, credit and end
titles. Following John Battison's ad-
vice, we used solid letters without
serifs in three tones of gray from light
to dark; these were filmed in two takes
at one full slop difference in exposure
so that the better take could be selected
for the final version. By better, I mean
the one that would look better on the
monitor at the radio station.

By now the first 600 feet of film were
back from the lab. A quick screening
marked a few scenes for retakes, some

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274

AUGUST 1951

GOOD SENSE ABOUT SOUND

OUR correspondent in the letter column, Lewis
W. Sebring, ACL, brings up a point which
we believe is well worth pursuing further.
"I took up amateur movie making," he writes, "to
record trips that I made, and not to try and ape pro-
fessional sound films."

Mr. Sebring's statement of principle was made in
protest to a suggestion printed elsewhere in our field
that the presentation of a sound accompaniment is
almost a prerequisite of success in our Ten Best con-
test. In entitling Mr. Sebring's letter rtNo Prerequisite,"
we have disclaimed this attribution. Instead, we have
referred our readers to our own statement on page
208 of June Movie Makers, wherein we wrote:

"Under present technical limitations, sound for the
amateur is still secondary — an adjunct to the main
show."

Now, there is no intention here to back down on
this statement at this time. The medium of the mo-

tion picture — be it a craft, art or simply a technique
— was delivered without decibels and it grew to ma-
turity without a microphone. Thus, philosophically
speaking, we are game to go even further and say
that sound is still an adjunct to the cinema — no
matter how techniques may develop.

Practically speaking, however, sound is obviously
here to stay. An increasing number of amateurs are
— to a greater or lesser degree — adding it to their
films. And there seems little doubt but that ,when it
is imaginatively conceived and ably used, an auditory
accompaniment adds to the effectiveness of many a
fine film.

If, then, amateurs are to employ sound — and we
see no reason why they should not — we conceive it
as our job to aid them in its use. There are, it seems
to us, up to a half dozen ways in which it can be
employed effectively. And don't be surprised if we
decide to discuss them in the foreseeable future.

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Ralph E. Gray, Vicepresidenf

James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE., NEW YORK 17. N. Y.. U. S. A.

because the children's expressions were
not satisfactory, others because the
cameraman had made fluffs in exposure
or in lap-dissolve timing. Leaving the
script writer to work on the narration,
now that she had an idea of what the
picture was to look like, we returned to
location for an additional half day of
shooting retakes. These were made on
the remainder of the title roll plus one
additional roll — a total of 200 feet more
film. We rushed it to the lab that eve-
ning and at once began cutting the first
600 feet.

FILM IS 6 FEET SHORT!

When the last footage had returned
from the laboratory and been spliced
into proper sequence, we checked the
running time. It was 6 feet short of the
needed 366! But our script girl had a
flash of inspiration and suggested a 6
foot opening sequence of each principal
in closeup to hit the screen before the
main title faded in. This proved to be
an unusual and effective introduction,
especially when seen and heard in con-
junction with the narration and back-
ground music.

By now eight days had elapsed and
we still needed a duplicate with no
splices to use in the actual telecast. The
master was in final form and ran exact-

ly ten minutes. The radio station music
director selected The River Seine and
La Vie en Rose as appropriate back-
ground music, both as recorded by Vic-
tor Young. We took the spliced-up film
to the studio and screened it on a closed
circuit, watching the results on the mas-
ter monitor before the station went on
the air with its regular programs. Here
we selected the set of titles exposed at
the larger / stop as giving the best
fidelity in reproduction.

THE DUPE IS MADE

With three days to go, we consigned
the precious 366 feet of film (plus a
generous 10 foot protective leader and
trailer) to the U. S. air mail and
awaited the final release dupe. Two or
three of our scenes were still slightly
over or underexposed in the master,
but time was running out and no more
retakes could be made. We hoped the
laboratory could smooth out these vari-
ations in printing.

On the morning of the telecast day.
we picked up the film at the airport and
rushed to the studio to check the dupe
for freedom from breaks (disastrous in

TV projection) and uniform density. It
was almost perfect. The laboratory had
done a fine job in compensating for the
few errors in exposure. Since the sta-
tion was on the air, there was no oppor-
tunity to have a final screening on their
TV monitor. But as a substitute we pro-
jected the print three times while the
narrator polished her synchronization.

ON THE AIR, AT LAST

At last came evening. On the TV set
we were watching there came the sta-
tion break, and then — music, pictures
and voice. We were on the air with our
first television production. 45,000 sets
across upper New York State were
tuned to an amateur movie!

P.S.: They got the new Home! For
at the conclusion of the drive, it was
estimated that several thousands of dol-
lars came in as a direct result of the
TV film appeal. And all this good re-
sulted from just 800 feet of film, 16
hours of shooting time, two weeks of
production time, and ten minutes on the
air. . . . Better try it sometime!

(With Community Chest drives across
the country climaxing during Septem-
ber and October, why not offer your
filming skills in your community? Be
sure and let us know if you produce a
picture. — The Editors.)

the HIRAM PERCY MAXIM AWARD or
PLACE IN THE TEN BEST CONTEST

RULES GOVERNING THE ACL SELECTION OF THE TEN BEST FILMS
OF 1951 AND THE HIRAM PERCY MAXIM AWARD

Prizes of any sort won in earlier ama-
teur film contests shall not be regarded
as compensation.

Entries from outside of the United
States which fail to comply with one or
both of these provisions will not be
cleared through customs by the ACL.

No phonograph records of any kind can

be received from outside of the United
States because of trademark regulations
governing this product.

7. Every film honored in the competition
will receive an ACL Award leader in full
color and an ACL Award Certificate
signifying the honor which it has won.

3. Selection of the ACL Award winners
will be made by the trained staff of the
Amateur Cinema League. Their decisions
will be final and the judges cannot un-
dertake to discuss entries comparatively
with the contestants.

9. No officer or director of the Amateur
Cinema League and no staff member of
the League or of MOVIE MAKERS is
eligible to compete in the ACL Ten Best
contest.

THE MAXIM MEMORIAL AWARD, established
in 1937 in honor of the League's Founder Presi-
dent, has become by international acclaim the
most treasured trophy in the world of amateur
movies. A cash prize of S100.00 and a miniature
silvered replica of the Memorial is given annually
to the one amateur whose film is judged the best
of the Ten Best. In its fourteen year history, the
Maxim Memorial Award has been won by films of
every type— 8mm. and 16mm., long and short, si-
lent and sound, factual and story. This year it
may be won by your film.

SEND IN YOUR FILMS NOW

It is not too early to send your films in for judg-
ing. The contest closes October 15, 1951. Send the
enlry blank below for each film you submit to:

AMATEUR C

420 Lexington Avenue

NEMA LEAGUE

New York 17, N. Y.

Send the Entry Blank below (or a copy of it) via 1st class
mail for each film that you submit.

I, , certify that

(name)
I have read the rules governing the ACL selection
of the Ten Best Amateur Films of 1951 and the
Hiram Percy Maxim Award and that my entry is
in full compliance with these rules.

□ Enclosed is $_

for return via_

\Z\ Please return via Express Collect.

Name of Film

Camera used

Signature

Date-

S/tafisfiof £ase atM/£coaomp

Cpme to At one At atony

Many of your friends . . . and possibly some members of your
own family, too . . . have promised themselves that someday they
also would be making movies. That "someday" is here — for the
Eastman Kodak Company, which brought Brownie ease to still
picture making, now introduces'.fitl Brownie Movie Camera!
Beautifully simple to use, it makes simply beautiful movies.

BROWNIE ECONOMY

The camera — soundly designed and with a truly "fast" f/2. 7 lens — is priced
at but $44.50 including Federal Tax. Film prices? Only $2.85 buys a whole
roll of black-and-white movie film . . . $3.90 for full-color Kodachrome . . .
enough film to "shoot" all the high spots of a happy family week end in 30
movie scenes, or more. And the film is finished by Kodak without extra charge!

BROWNIE SIMPLICITY

Loads as easily as a Brownie snapshot camera. Only one lens setting to
make, and a built-in exposure guide tells how to make it — for outdoor shots,
dawn to dusk . . . for indoor movies under inexpensive photoflood lamps.

No focusing is needed!

BROWNIE DEPENDABILITY

The Brownie Movie Camera is made with traditional Kodak care and
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• Fast, prefocused Lumenized (coated) //2.7 lens

• Simple, straightforward loading

• Butterfly-type winding key for long-running
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• All-purpose, all-film exposure guide for shots
outdoors, indoors

• Finger-tip, "click-stop," lens-opening adjust-
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• Full-vision, eye-level finders with close-up indi-
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• Handy, finger-tip exposure button . . . also locks

into full running position for making "self
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• Accurate, easily read footage indicator

• Positive, finger-tip cover lock

• Standard tripod socket

• Rugged — Kodadur-covered aluminum case.

Camera weight only 1% lbs.

• Accessory Field Case with neck strap

• Choice of full-color or black-and-white films

Prices include Federal Tax where applicable and are subject to change without notice.

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&i£8&

THE MAGAZINE F

1VI1EIIV JV/UI1U llWTf

KMH

EXPOSURE SLIDE RULE

ALL PURPOSE TITlrA

the HIRAM PERCY MAXIM AWARD or
PLACE IN THE TEN BEST CONTEST

THE MAXIM MEMORIAL AWARD, established
in 1937 in honor of the League's Founder Presi-
dent, has become by international acclaim the
most treasured trophy in the world of amateur
movies. A cash prize of $100.00 and a miniature
silvered replica of the Memorial is given annually
to the one amateur whose film is judged the best
of the Ten Best. In its fourteen year history, the
Maxim Memorial Award has been won by films of
every type— 8mm. and 16mm., long and short, si-
lent and sound, factual and story. This year it
may be won by your film.

SEND IN YOUR FILMS NOW

It is not too early to send your films in for judg-
ing. The contest closes October 15, 1951. Send the
entry blank below for each film you submit to:

AMATEUR CINEMA LEAGUE

420 Lexington Avenue New York 17, N. Y.

Send the Entry Blank below (or a copy of it) via 1st class
mail for each film that you submit.

RULES GOVERNING THE ACL SELECTION OF THE TEN BEST FILMS
OF 1951 AND THE HIRAM PERCY MAXIM AWARD

I I.

_, certify that

(name)

I have read the rules governing the ACL selection
of the Ten Best Amateur Films of 1951 and the
Hiram Percy Maxim Award and that my entry is
in full compliance with these rules.

□ Enclosed is $_

for return via.

□ Please return via Express Collect.
I

| Name of Film-

Camera used.

| Signature

Date-

Prizes of any sort won in earlier ama-
teur film contests shall not be regarded
as compensation.

Entries from outside of the United
States which fail to comply with one or
both of these provisions will not be
cleared through customs by the ACL.

No phonograph records of any kind can

be received from outside of the United
States because of trademark regulations
governing this product.

7. Every film honored in the competition
will receive an ACL Award leader in full
color and an ACL Award Certificate
signifying the honor which it has won.

9. No officer or director of the Amateur
Cinema League and no staff member of
the League or of MOVIE MAKERS is
eligible to compete in the ACL Ten Best
contest.

MOVIE MAKERS

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280

SEPTEMBER 1951

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

- FOR MOVIE OR TELEVISION WORK —

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 16 mm cameras.
Fitting to other cameras upon special order.

Sizes available now: 35 and 50 nui
and 75 mm coated.

uncoated

Write for prices, giving your dealer's name.

2=£* GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

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Write for complete catalogue

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

September
1951

New ACL members

The reader writes

Exposure by slide rule

The reproduction of sound: 4

Magnetic sound now!

Attention: embryo editors!

Lining up your titles

An all-purpose camera stand

Some principles of editing

News of the industry

Closeups

Book reviews

Clubs

People, places and pictures

John E. C/osson
Gerard Schoenwald, ACL

Sidney Moritz, ACL

Percy Gotz ACL

Benjamin 8. Crocker

Earl Clark

Reports on products

What filmers are doing

People, plans and programs
Editorial

281
282
287
288
289
290
291
294
296
298
299
301
302
306

Cover photograph by Leo J. Heffernan, FACL

JAMES W. MOORE
Editor

DON CHARBONNEAU
Consultant Editor

ANNE YOUNG
Advertising & Production

Vol. 26, No. 9. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $2.00 a year, postpaid; single copies 25< (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc.' Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

F. Schutte, Voorburg, Holland
Sam S. Beck, Ferndale, Mich.

Henry J. Degenkalb, San Francisco, Calif.

Pascval de Rojas, Havana, Cuba

Rudolf Ullbricht, Long Island City, N. Y.

Jesus S. Valle, Alton Bay, N. H.

Dr. Edmund Ziman, New York City

Charles C. Rawls, Norfolk, Va.

Irving Swire, Brooklyn, N . Y .

Boris C. Woolley, New York City

E. H. Scott, Victoria, Canada

Irwin N. Knehans, Chicago, III.

C. J. Gallant, Columbus, Ohio

Edward Sickrey, Grand Rapids, Mich.

Fraser Bell, Toronto, Canada

Carl Hilton, Pater son, N. J.

W. E. Kilroy, Hyder, Alaska

Mrs. Paula Lissiuk, Albuquerque, N. M.

Ted J. Parkinson, Yellowstone Park, Wyo.

Paulo Ferraz De Sampaio, Sao Paulo,

Brazil
W. A. M. Wils, Plainfield, N. J.

C. A. Alsop, Jr.. St. Louis, Mo.
Max Berendson, M.D., New York City
Raymond L. Rhodes, Cedar Rapids, Iowa
Earle A. Roseland, Aberdeen, S. D.
Duane Scovill, Green River, Utah
George A. DuBerg, New York City
Henry G. Hancock, Chiloquin, Ore.

Bok H. Horn, Coolidge, Ariz.
Leopold Kleiner, New York City

Benjamin Barzune. Dallas, Texas

Leo Cohen, New York City

Burt Huff, Santa Ana, Calif.

George L. Karl, Fairbanks, Alaska

Ray W. Kemmer. Dayton. Ohio

R. U. Slayback, Highland Park, III.

Irving Stolinsky, Rutherford, N. J.

E. T. Garrett. Phoenix, Ariz.

Rev. J. Paul Brennan, Philadelphia, Pa.

George A. Haas, Corfu, N. Y.

fitsumyo Uyehara, Honolulu, T. H.

G. H. Coats, Auburn, Ala.

S. A. Kenney, Whitehouse Sta., N. J.
Herman Prussner, Newark, N. J.
Samuel Reindorf, New York City
Eugene P. Neu, Usumbura, Belgian Congo

James F. Belsky, Baltimore, Md.

J. B. Cropper, New York City

Mrs. Eva M. Cutright, Chillicothe, Ohio

Donald E. Richel, Brooklyn, N. Y.

Lorenz W. Aggens, Chicago, III.

William Hill, Toronto, Canada

Warren L. Hughes, Mattoon, III.

David Kwan, San Francisco, Calif.

Keith Rhea, M.D., Clinton, III.

W. A. MacArthur, Long Beach, Calif.

Cecil Crider, Detroit, Mich.
A. W. Tamlitts, Pittsburgh, Pa.
John Ward, Dobbs Ferry, N. Y.
Miss Ann R. Ahem, Jamaica, N. Y.
Karl Hoffman, Chevy Chase, Md.
Pvt. Marion T. Zambrzycki. Erie, Pa.
Rev. Roy D. Brokenshire, Carlsbad, Calif.
J. Bartlett Richards, Lisbon, Portugal
Louis Weglein, HI, Margate City, N. J.
Chas. B. Brandt, Omaha, Neb.

D. D. Denker, Pomona, Calif.
Kansas City Amateur Movie Makers.

Kansas City, Mo.
R. J. A. McCleery, Wyandotte, Mich.
P. E. Milstead, Tampa, Fla.

16 mm Sound -On -Film

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picture film with the Auricon "Cine-Voice" 16mm
Camera. Same film cost as old-fashioned silent
movies! Play back your own talking pictures on
any make of 16mm sound projector. Also used
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Write for free illustrated "Cine-Voice" Folder.

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Auricon Camera Catalog

•^C Two independent Finder Systems plus
instant Ground-Glass Focusing through
the Camera lens.

■^f Self-Blimped for quiet Studio operation.

•^f 1200 foot film capacity for 33 minutes
of continuous recording.

■^f Variable Shutter for fades or exposure
control.

•^C $4315.65 complete for 16mm sound-on-
film .. .lenses additional. Also available
without sound for $3377.90.

MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

282

SEPTEMBER 1951

WORLD-WIDE BROTHERHOOD

Gentlemen: The June issue of Movie
Makers carried a notice under The
Swap Shop of my offer to exchange
fresh Kodachrome film for scenes taken
in several foreign countries. You may
be interested to learn of the response I
have received.

As of now, arrangements have been
made for pictures to be taken in Mex-
ico and Central America. Tuesday two
airmailed offers of films were received
from the Far East. . . . The Amateur
Cinema League is truly a world-wide
organization!

Warren D. Hosmer, ACL
Ferndale, Mich.

Dear ACL: I am glad to tell you that
the response to my offer (pictures of
India for raw film stocks) which you so
kindly published in April Movie Mak-
ers is excellent.

I have received letters from the Unit-
ed States, Great Britain, various coun-
tries of Europe, Eritrea, Ethiopia, Sing-
apore, etc. And more are coming.
Verily, ours is an international brother-
hood!

N. P. Hariharan, ACL
Madras, India

ENLIGHTENING

Dear Sirs: I was very much disap-
pointed in not finding in Movie Mak-
ers for August the fourth installment
of The Reproduction of Sound, by Ge-
rard Schoenwald, ACL. I hope it will
be forthcoming in an early issue.

These articles by Mr. Schoenwald
have been very enlightening. Their sim-
plicity of expression has made a very
complex subject understandable.

Dr. Henry J. Sealey, ACL
Dumont, N. J.

Sorry, Dr. Sealey! As was announced
in August on page 263, Mr. Schoenwald's
fourth installment of The Reproduction
of Sound was purposely held over to syn-
chronize it with the important RCA-
Reeves magnetic sound-on-film story with
which it is now paired. Please turn to
facing pages 288 and 289 in this issue.

SOS: SINGLE SYSTEM

Dear Movie Makers: To my growing
discomfiture, I find myself the proud
but puzzled owner of an RCA single-
system 16mm. sound camera. This was

acquired about two years after the war,
and in the succeeding years I have been
able to record sound on only about 200
feet of the 2000 feet of film attempted.

I'm not out to imitate Hollywood. All
I want to do is record my two young-
sters yak-yaking in the corner of the
living room. I have read the instruction
book, and I have cried on the shoulders
of a good many "experts" — but to no
avail. I need help !

Surely, among your widespread read-
ers there must be at least one lone
amateur who has done the thing I yearn
to do. Pray, please advise!

Jack Kane
4761 Doyle Road
Pittsburgh 27, Pa.

ORCHIDS FOR ANSCO

Gentlemen: That August article, Two
Weeks To Go, was very interesting. I
note they used Ansco film and they
must have used judgment when they
did. Bravo for Ansco!

H. Goldstick, ACL
Chicago, 111.

BOOKS ON SLIDES

Dear ACL: If I may refer to the con-
troversy in Movie Makers of one or
two years ago concerning the inclusion
of slide material in the magazine (be-
cause there was not suitable aid else-
where), I wonder if members of ACL
know that there are now on the market
two books on the subject by Fred
Bond?

Although I have not purchased them,
I have looked through them quite care-
fully. They seem to cover the subject of
slide making as thoroughly as Bond's
earlier book, Better Color Movies, cov-
ered movie making.

B. L. Williford, ACL
San Leandro, Calif.

NOTHING WRONG IN NEW ZEALAND

Gentlemen: While I am writing you,
I think I must make some reference to
the article, New Zealand Reporting,
published in the April number of Movie
Makers. I do not agree with the author
at all.

He mentions that equipment is still
scarce and very expensive — a luxury to
be indulged in only by those with large
incomes. Certainly things have risen
compared to prewar prices, but have
not all goods risen? Cameras that sold
for approximately £30-0-0 before the
war sell today for about £50-0-0, and
that is roughly what other things have
risen over the years.

As to film, this has been a bit scarce

in the last few months, especially 8mm.
colour. But I do not think that anybody
could say they were ever stuck for film.
As a matter of fact, at the moment
(August) there is plenty of colour film
available and people have been offered
a twelve months' supply.

I hope you will not think that I am
complaining about your article. But for
anyone contemplating coming to New
Zealand it gives them a very false im-
pression. I think that Australia is far
worse off for supplies than is New Zea-
land. I have been advised that anyone
planning a trip to Australia should take
with them as much film as they can get.
Kenneth V. Townshend, ACL
Palmerston North, N. Z.

Movie Makers is relieved to learn that
nothing is now wrong with amateur film-
ing conditions in New Zealand. As for
Australia, we have, early on our editorial
schedule, a detailed report by an informed
Australian amateur on filming conditions
in that Commonwealth. Let's see what he
has to say.

STILL MORE ON EMULSIONS

Dear Sirs: I also would like to con-
firm the views of several of your cor-
respondents on English-made Koda-
chrome. After a first, trial reel — exposed
at ASA 10 as I would for the American
emulsion and which appeared decid-
edly rich although not quite under-
exposed— I also have decided that the
English product is slower.

I now get consistently good results
by using a film speed for the latter
emulsion of ASA 8, which, of course,
brings the standard bright-sun expo-
sure to f/6.3.

Neal Du Brey, ACL
Durban, South Africa

NO WHITES, NO BLACKS

Sirs: In the May number of Movie
Makers, under the title More on Emul-
sions, I have read that the Kodak Super
X made in France has a Weston rating
of 12. In fact it has a rating of 40, but
it is a very poor film: no whites, no
blacks — just plain gray. Curiously
enough, it is good when used indoors.
Comte De Failly, ACL
Paris, France

ATTENDED A LUNCHEON

Gentlemen : In submitting the enclosed
application for membership in the
Cinema League, I am very belatedly
renewing an association which goes
back many years to the inception of
the League.

Back in the 1920's — the exact year
escapes me — I attended a luncheon at
the Hotel Commodore at which time
Mr. Maxim formulated the League. I
was the guest of Mr. Wilton Barrett,
then general secretary of the National
Board of Review, with which organiza-
tion I was associated for some years. I
believe I may rightly call myself one
of the oldest friends of the Amateur

MOVIE MAKERS

283

Cinema League, the organization which
has done so much to advance the per-
sonal motion picture field.

Ralph Ruger, ACL
Empire State Film Service
Binghamton, N. Y.

The organization luncheon attended by
member Ruger was held on July 28, 1926.
A picture of the gathering was published
in the December, 1950, Twenty-Fifth
Anniversary issue of Movie Makers.

VERY HELPFUL

Dear Sirs: I wish to thank you for the
many moments of enjoyment during the
summer in reading Movie Makers. The
two articles called You and Your Meter
were very helpful.

Harry B. Woolnough, ACL
Rec. Secretary
Long Island Cine Club, ACL
Lvnbrook, N. Y.

Classified a d v e r t i s i

8MM. IN INDIA

Dear Friends: The undersigned ACL
member in India would like very much
to correspond with other members in
various parts of the world — especially
those working in 8mm. film.

Shreenarain Somani, ACL
"Oceana"
214 Marine Drive
Bombay, India

CHINESE DRUMS IN DETROIT

Gentlemen: I am in the process of
putting together a 1000 foot 16mm.
Kodachrome movie of the 250th anni-
versary parade held here in Detroit on
July 28. To complete the production I
need some footage of the St. Mary's
Chinese Girls Drum Corps from San
Francisco, which I was unable to ob-
tain.

I can use any amount of color film
from 5 to 100 feet, and in exchange I
will make whatever arrangements you
feel are equitable. I could swap equal
amounts of scenic footage in the Ann
Arbor area, or the same on some impor-
tant football game at the University of
Michigan stadium, or I will replace
your pictures with a double amount of
new film.

Rex H. Nottingham, ACL
P. O. Box 197
Ann Arbor. Mich.

Q| Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.

10 Cents a Word Minimum Charge $2

? Words in capitals, except first word and name,
cents extra.

EQUIPMENT FOR SALE

B Bass . . . Chicago, offers a practically new 16mm.
B. & H. Specialist complete with 1" Lumax f/1.9
coated in foe. rat., 17mm. Ansix f/2.7 coated in foe.
mt., 2" //3.5 Telate coated in foe. mt., incl. one
sync, motor and one wild motor, 2-400 ft. magazines,
carrying case, Professional Jr. tripod. List $3100.00.
Bass price S2100-00. Write or wire deposit for this
grand bargain. BASS CAMERA COMPANY, Dept. CC,
179 W. Madison St., Chicago 2, 111.

B CUT your* cutting time by using the EDIOLA
16mm. Double system editor, details from M. W.
PALMER, 468 Riverside Dr., N. Y. 27.

FILMS FOR RENTAL OR SALE

■ NATURAL COLOR SLIDES, Scenic, National

Parks, Cities, Animals, Flowers, etc. Sets of eight,

$1.95; sample & list, 25p. SLIDES, Box 206, La
Habra, Calif.

| NEW and used Telerision and library sound films
for outright sale. Single reels, S7.95 each. Reverse
image sound ies, SI .95 each, three for $4.95. Brand
new straight image soundies, $2.95 each. Used fea-
tures, $25.00 up. Send for complete listings. LAW-
RENCE CAMERA SHOP, Dept. MM, Box 1597,
Wichita, Kansas.

B USED and new Castle films: 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

| FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — onlv 50C-
NATIONAL CINE SOCIETY, 126 Lexington Ave..
Dept. 102, New York 16, N. Y.

M KODACHROME original of beautiful, inspiring
WASHINGTON, D. C, filmed to your order, or our
production, 50 ft. 8mm., 89.00. WASHINGTON
COLOR ORIGINALS, 180O-19th St., N.W., Washing-
ton, D. C.

B ADD TO your own Alaska, Mexico or The Alps
of Europe movies 16mm., gorgeous color film origi-
nals, not duplicates, extra scenes taken while making
adventure pictures for national lecture platform —
many spectacular shots of game, glacier crashing,
volcanic eruptions, etc., in areas seldom reached by
man. Select as much as you wish at 25<? to 40£ a
foot based on quantity. Also rare color shots of
Shooting the Rapids in mountainous rivers and many
breathtaking action scenes of Eastern seaboard, Maine
to Virginia. NEIL DOUGLAS, Explorer and Lecturer,
Box 661, Meriden, Conn.

FILMS WANTED

B WE need 16mm. Kodachrome scenes of nature —
rivers, trees, flowers, the seasons, animals. No people.
Quick purchase of footage which suits our require-
ments. BOX 287, MOVIE MAKERS.

FILMS FOR EXCHANGE

■ EXCHANGE 8mm. films 50^ per reel any length.
No art. WM. P. MASON, 4801 Riviera Dr., Miami
46, Florida.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm., or 16mm. .
11^ per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete etudio
and laboratory services. Color printing and lacquer
coating. ESCAR MOTION PICTURE SERVICE, Inc.,
7315 Carnegie Ave., Cleveland 3, Ohio. Phone : Endi-
cott 1-2707.

H TITLES ! Beautiful, professional quality, custom
made, motion background, Kodachrome, budget titles
— for list price film plus small set-up charge!!!
Write for details: PERRIEN PICTURES, Inc., 1032-A
North Sixth St., Milwaukee 3, Wise.

■ 8mm. HOLLYWOOD TITLE STUDIO 16mm.
Complete titling service. Color and black and
white. SPECIAL DISCO.UNT TO AMATEUR CINEMA
LEAGUE MEMBERS. Send lOtf for Price List and
Sample. Address: 1060 North Vista Street, Hollywood
46, Calif.

S 16mm. SOUND recording, S6.00 per 100 ft.; also
sound pictures taken at home nearby only. Write
ANTHONY IO VINO, 86-01 Commonwealth Blvd.,
Bellerose, N. Y.

THE ACL LEADER

Signature of a GOOD FILM

If you haven't yet ordered your ACL
leaders, you're missing all the glow and
sparkle that this beautiful color footage
will add to your finished films.

The 16mm. leaders are 14 feet, the 8's
are 7 — but with the same running time,
of course. Both animated throughout. $1.50
for the Sixteens, a $1 for the Eights.

ORDER YOURS TODAY

""■"■ BM

THE ONLY BOOK DEVOTED EXCLUSIVELY TO TITLES
Every step explained, simply and thoroughly.

It Answers Every Title
Making Problem

h HOW TO TITLE

f HomEmoviEi
■«

8 mm |6

Sold Only by Mail

jMAIL A DOLLAR BILL TODAY'S

WESTWOOD SALES CO. 635 victoria avenue,

SAN FRANCISCO 27,

CALIFORNIA.
1 1111 11 MJi OB3j i1

284

SEPTEMBER 1951

Now

AVAILABLE!

Ansco Natural Color Movie Film
in 8 and 16mm Magazines

It's here! Gorgeous natural color... in convenient, ready-to-use
magazines. . .for breath-taking, sparkling, true-to-life movies!

Soft flesh tones, natural foliage, pastel-blue skies . . . that's

Ansco Natural Color. You'll be amazed with the thrilling
difference — with movies that spring to life on your
screen in nature's gorgeous panorama of color. Load your
camera, today, with the one and only Natural color film. At
dealers everywhere!

x\\m///

Next to

COLOR

S5i«i ?CO|

' '•■mmmm
:-|1 .!* mm mm jr

— I Nature . . . it's \ —
~~i \ Ansco Natural
Color

MOVIE MAKERS

285

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■■■■: , ■ ;,':: ■ . ■

Ansco Natural Color Film

ANSCO, BINGHAMTON, NEW YORK. A DIVISION OF GENERAL ANILINE & FILM CORPORATION. "FROM RESEARCH TO REALITY.'

286

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287

EXPOSURE BY SLIDE RULE

Here, combined in one easy-to-make calculator, are all of

the exposure compensations required by light and dark subjects

Designed for MOVIE MAKERS by JOHN E. CLOSSON

THAT IS, surely, a fine series of articles which Movie
Makers has been running called You and Your
Meter. (See the July and August issues — Ed.) The
pictures are attractive and pertinent to the points under
discussion. The discussion is informative and as easy to
read as this stuff ever can be. And the points being made
are important to good exposure. However . . .

Once in the field, I find these points hard to remember!
I recognize that they're right, mind you. I accept the
fact that a reflected light meter returns a directly usable
reading only on an average toned subject. And, faced by
the facts, I can understand why such a meter reads too
high (or is it low?) on a light subject, too low (or is it
high?) on a dark subject, and just about right on a gray
card ... Or is it just right?

You see, I can't remember. And, frankly, I doubt if
the majority of other movie makers can either. Thus, I
have turned to that invaluable aid of all engineers, the
slide rule. Why not, I reasoned, assemble the facts once
and for all, combine them in some easily operative form
and, after that, let the slide rule do the remembering?
The results are pictured at the left, ready for your use.

EASY TO ASSEMBLE

The unit is simplicity itself to assemble. For material
I used a 1/16 inch gray cardboard, from a shirt, I think.
Add to this a pair of sharp scissors, a razor-blade knife,
a supply of glue and a bit of Scotch tape — and you're
ready for business.

The first step is to cut the cardboard into the requisite
pieces — five in number. These are the back and front of
the rule (pictured from the left in the diagram), the
slide unit (pictured next) and two narrow strips used as
spacers for the slide between the front and back. These
strips are seen as the diagonally striped areas in the end-
on view above the Assembling Instructions.

But before cutting your cardboard, just a word about
size. In the diagram at left, the back, front and slide
units pictured are intended as facings to glue on the
cardboard units you are about to cut. As such, they are
of a size now to fit with each other. Thus, in sizing your
cardboards, simply scale them to the facing units, then
cut the facings from this magazine and apply them as
indicated.

In the assembly operation, the front and back card-
boards are first glued together, separated by the two
narrow strips as spacers for the slide. The front-and-
back facing is then cut from the opposite page, wrapped
around the joined cardboards and glued as shown in the
assembling instructions. The slide cardboard is then
fashioned, its facing glued on and trimmed. Windows as
indicated on the front facing are now cut through the
front cardboard and the slide is inserted. As a final pro-
tection for the long, three-layered edges of the rule, I
bound them with Scotch tape.

READY FOR YOUR USE, at left, are the front, back and slide facings to
cover these working parts in your own exposure compensation guide.

THE TABLE ON THE BACK

And now, before working out a few test examples on
your slide rule, you will want to know what its markings
mean. To begin at the back, the table presented here may
be the rule's most important aid in your exposure calcula-
tions. Called Light Meter Tendency, the table is based
on the known reactions of reflected light and incident
light meters when they are used in connection with sub-
jects of average, light and dark tone. It is known, for
example, that with an average subject each meter will
return a correct exposure reading: that with a light sub-
ject one reads too high and the other too low, while with
a dark subject their reactions are just the opposite.

Now, since these reactions are standard, comparative
readings of a single subject by the two meters may be
used as a positive guide to the subject's tonal value. For
example, if subject A reads high on the reflected meter
and low on the incident one, the Meter Tendency table
tells us without question that subject A is light in tone. In
like manner, this table and your twin meter readings will
identify subjects of dark or average tone.

THE FACE AND SLIDE

On the face of the slide rule the single window at left
center is for an actual meter reading as it comes off the
dial of your reflected light or incident light meter. With
this reading set at left, the windows at right now will in-
dicate the correct stop as dictated by the type of meter
used (reflected or incident) and the tonal value of the
subject (light or dark colored).

The slide itself is divided into stops (33 in number)
ranging from //1.4 to //22. Those followed by a capital
"F" are in full-stop progression with each other, while
all others are in *4 stop progression. This allows for the
easy determination of exposure corrections down to %
a stop and their correct setting on the lens.

AVERAGE COLORED SUBJECT
Let us now see how this slide rule you have just made
is used in determining these corrections. The first step is
to take successive readings on a given subject with
a reflected light meter and then with an incident light
meter. The results: //8 on both meters. Referring these
data to the Light Meter Tendency table on the slide rule's
back, we find two facts: (1) we are reading on a subject
of average tone, since both meter readings are the same;
(2) since the subject is average in tone, no exposure cor-
rection is necessary: Therefore, with our first test subject
we have no need to set up our meter readings on the face
of the slide rule.

DARK COLORED SUBJECT
But let's try again. On our second test subject, the
meter readings returned are as follows: //4 on the re-
flected meter; //8 on the incident meter. This difference
in meter readings tells us at once that we are not now
reading on an averaged-toned subject. To determine what
type of subject (light or dark) [Continued on page 300]

288

THE REPRODUCTION OF SOUND: 4

How the magnetic tape system has furthered the progress of fine sound reproduction

GERARD SCHOENWALD, ACL

MAGNETIC recording has influenced the recording
and reproduction of sound in a most radical way :
it is here to stay as a money and time saver in
the movie industry; it is the generally accepted recording
medium of all disc manufacturers; it is used extensively
for the transcription of radio programs before shows are
recorded on discs; it allows documentary and educational
radio programs hardly possible before, and it has become
a tool for industrial and scientific research, for music,
language and speech tuition.

Its possibilities for the music lover, the movie amateur
and for general party and home use are well known, but
they represent only a beginning. I believe that the de-
cision of one of the big record manufacturers to sell tape
with recorded music on it of longer duration is all that
is needed to place magnetic tape right alongside LP
records in popularity. The higher cost of a tape repro-
ducer compared to a record player would be fully justi-
fied by the advantages of musical recordings on tape.

ADVANTAGES OF MAGNETIC RECORDING

We can get an idea of the advantages of magnetic
recording by comparing it to disc and optical recording.
These advantages are:

(1) Only magnetic recording allows the re-use of the
recording medium.

(2) Magnetic recordings can be played back as soon
as completed. While some disc recordings also can be
played back immediately, they have a relatively short
life because of their soft surface material. No optical
track can be reproduced at once, since it has first to be
processed.

(3) Neither records nor optical sound tracks can be
played back as many times as a magnetic recording with-
out serious deterioration of quality.

(4) Like motion picture film, magnetic tape or wire
can be spliced and edited. However, here the optical
sound track has a slight advantage over tape or wire,
because the sprockets of the film can be matched to the
picture film to make its editing easier.

(5) The quality achieved by magnetic recording is so
good that reproductions from tape cannot be distin-
guished from live programs over the radio. Modern
disc recording techniques come very close to this result.
Very often, however, quality is partly lost in the pressing.
The amateur cannot find any recording medium that
gives him the same quality at the same price.

(6) The attention and maintenance checks needed
from the operator in either optical or disc recording
cannot compare with the ease of magnetic recording.
This feature is also very valuable to amateurs.

(7) The operation of a tape or wire recorder is not
affected as much by vibrations or heat as are disc and
film processes. Tape recorders used at music festivals
and other occasions in Europe have given us an avalanche
of wonderful music for playback on records. Native songs
of African and South American tribes also have been
recorded under most difficult conditions.

(8) Tape and wire recorders can be designed with
extreme compactness. One portable battery - operated

tape recorder weighs just about 13 pounds and is used
by reporters for on-the-spot interviews.

WHICH FACTORS DETERMINE QUALITY?

The quality of a magnetic recording is influenced by
the following factors : the speed and width of the recording
medium; the width of the gap; the uniformity of trans-
portation of the medium past the head; the alignment of
the gap with respect to the medium; the physical contact
of the head with the medium; the equalization and bias
used; the quality of the medium, and the use of a correct
recording level. Since tape is now the magnetic medium
most often used, we shall refer solely to it from now on.

STORAGE CAPACITY

To understand the importance of tape speed and width
to the quality of sound in magnetic recording we must
examine for the moment a factor known as "storage
capacity." Basically, the storage capacity of any sound
system is a measurement of how much room it has
available to store (record) the sound impulses sent to
it. Take a look at a strip of optical sound track on film
and you'll see what we mean.

Here, on 16mm. film, the width of the available sound
storage area is 80 mils (80/1000 of an inch), while the
available length will be 7.2 inches per second at the
sound projection speed of 24 frames per second. (The
length available for storage at silent projection speed
would have been only 4.8 inches per second, thus indi-
cating why sound requires the higher projection rate.)
Now, using a light beam approximately 1/1000 of an
inch wide which spans the width (80 mils) of the track
area, we want to record a single sound of 1000 cycles
by varying the density of the exposure. The image of 1
cycle will consist of a gray strip turning black and fad-
ing to gray again, then repeating the same variations in
the opposite direction. One thousand of these paired
variations within 1 second will produce a tone of a
certain pitch.

We have, therefore, to store within the length of 7.2
inches 2000 black and white stripes, each 1 mil in thick-
ness. Since 2000 times .001 is only 2 inches, we see that
we can easily place this 1000 cycle tone on our sound
track. A 4000 cycle tone, however, begins to run into
difficulties, since it would need 8000 times .001 or 8
inches of storage capacity. A higher speed of film travel
would stretch the storage capacity, but the speed of 24
fps has been fixed as standard. Thus, the solution here
is to decrease the width of the recording light beam to
less than 1 mil, thus increasing storage capacity in this
way.

A quite similar situation exists in magnetic tape re-
cording. Here, instead of a light beam of a certain width,
we use a magnetic head with a gap width of 1 mil or
smaller. The storage capacity of the tape on which this
gap acts again is determined by multiplying the width
of the medium times its speed of travel past the recording
head. However, in tape recording it is the width of the
medium which has become standardized (at *4 inch,
save for the twin-track system) , [Continued on page 305]

289

MAGNETIC SOUND NOW!

The door opens to magnetic sound on film as RCA-Victor offers

a 16mm. projector, Reeves Soundcraft a film striping service

MAGNETIC sound on film is now a commercial
reality! This fact, clearing the air of countless
irresponsible rumors, was established late this
summer with the public demonstration by RCA-Victor
of their new RCA "400" Magnetic Sound Projector.

A development of RCA's well known "400" sound on
film projector, this new 16mm. recorder-projector pro-
vides the first commercially available means of magneti-
cally recording commentary and musical accompaniment
directly on the edge of otherwise silent motion picture
films. Carrying the sound is a stripe of magnetic oxide
1/10 of an inch wide, which is positioned on 16mm.
footage exactly as would be an optically printed sound
track. In fact, while this stripe may be coated on a film
either before or after it has been used in picture taking,
the present stripe can be positioned only on footage of
the single-perforation type. So coated, this 100 mil stripe
can record and reproduce sound at a frequency range
of 80 to 7200 cycles and with the virtual elimination of
background noise.

Three main features of the equipment make it possible,
believes RCA, for non-professional users to obtain excel-
lent results in magnetic-on-film recording: (1) to record,
it is necessary only to turn a switch and talk or play music
into a plug-in microphone; (2) after the recording is
completed, another control may be set for immediate
playback; (3) if revisions are needed, or if a new sound
treatment for the film is desired, an electronic erase head
may be activated by another simple control. Further, it
is pointed out, no recording studio facilities are necessary
and the magnetic method eliminates film waste due to
recording errors. Thus, the cost of recording a 400 foot
reel of 16mm. film with the new equipment has been esti-
mated to be only about one-third of the cost of compar-
able results from optical track recording.

The RCA "400" Magnetic Sound Projector should be
generally available on the retail market by November
1, and it is expected to list at around $850. For the
present it is unlikely that RCA-Victor can undertake the
addition of magnetic sound units to existing RCA "400"
optical sound projectors.

RECORDING IS EASY! No studio facilities are needed for mag-
netic film recording. Simply plug in the mike, project, talk.

REEVES READY TO STRIPE FILMS

With the advent of this first commercially-available
magnetic sound projector, the question immediately
arises: "Now, where can I get my films striped for mag-
netic recording?"

Movie Makers is pleased to answer this question at
once for its interested readers. Such service is available
right now from Reeves Soundcraft Corporation, which
has its headquarters at 10 East 52nd Street, New York
City. From their new plant at Springdale, Conn., Reeves
offers magnetic striping of either 35mm., 16mm., or 8mm.
film prior to slitting. While the coating must be applied
to the base side of the film only, it can be added with
equal facility to both newly processed and already edited
footage. Their product is known as Magnastripe.

For 16mm. single-perforation footage (or on single-
perf duplicates of existing double-perforation footage),
the 100-mil-wide stripe is applied in the standard 16mm.
optical track position. This is the stripe around which the
RCA projector is designed. For it, Reeves claims a signal-
to-noise ratio of at least 55 db and a flat frequency
response up to 7500 cps at less than 2% harmonic dis-
tortion. Also, there will be complete freedom from the
noise problems associated with wear on optical tracks,
since scratches and abrasions have no audible effect on
the magnetic track.

For double-perforation 16mm. film and for 8mm.
stock prior to slitting, Reeves first experimented with a
stripe 25 mils wide located along the film's edge outside
of the perforations. More recent tests indicate, however,
that magnetic striping for these stocks may be positioned
more effectively between the sprockets and the picture.
Reeves' present thinking leans toward a stripe about 25
mils in width positioned in this manner. While this prac-
tice would mean an intrusion of 10 to 15 thousandths of
an inch into the picture area, the resulting improvement
in sound quality is believed worth this slight sacrifice.

Currently, with only the RCA playback facilities avail-
able, Reeves reports trade only in the 100 mil stripe.
Their unit price for it now stands at about 3% cents per
foot, but they point out that this is practically on an
experimental basis. As soon as other playback equipment
is offered — for double-perf 16mm. and for 8mm. — Reeves
expects the volume of demand to make possible sharply
reduced striping rates.

WHAT DO THESE DEVELOPMENTS MEAN?

These, then, are the facts in the magnetic film world as
of right now. Just as Movie Makers brought its readers
(back in March, 1948) the first and only authentic re-
port on the experimental development of magnetic sound
on film, we now bring you these facts on the first com-
mercial developments in the field. While any such devel-
opments are truly exciting, it is well to be realistic in
analyzing what the present progress means for the ama-
teur to date.

Basically, it seems to us that the current developments
mean more as a promise to the personal filmer than as a
fulfillment. For, in summing up, we find we have the fol-
lowing: one make of magnetic [Continued on page 300]

290

ATTENTION: EMBRYO EDITORS!

Here are the problems and processes of putting out a movie club news bulletin
SIDNEY MORITZ, ACL

THE presentation of excellent screen programs, effec-
tive instruction and attractive social events are the
objectives of all good movie club administrators.
However, unless interest in these activities is stimulated
throughout the season, the many advantages of such an
integrated program may not be fully appreciated by the
members.

The club bulletin or news sheet is the ideal medium
for arousing and sustaining that interest. Those groups
not yet sponsoring a club publication should give thought
to so doing. Even movie clubs already issuing news sheets
may wish to consider ways and means of making them
still more effective. This discussion, based on a study
of club bulletins published in this country and abroad,
is designed to help clubs in either category.

PURPOSES OF CLUB BULLETIN
Let us first enumerate, more or less in the order of
their importance, the functions of an effective news sheet.
These are:

1. To announce the programs of future meetings and
to review the programs of past meetings. This latter func-
tion, which can be carried out in brief itemization, serves
two purposes: It keeps delinquent members informed,
and it provides an accurate source of club news for other
publications — such as this one.

2. To keep members posted on such club doings as
contests, dinners and other social events having a direct
bearing on amateur movie making.

3. To report on what members are doing which is of
specific interest or importance in the hobby.

4. To provide instruction in movie making when, as
and if possible.

5. To advertise equipment which members may wish
to buy, sell or exchange.

6. To editorialize on trends in movie making, or to
discuss matters affecting amateur cinematography.

Next on the agenda must be the formulation of plans
for publishing the club paper. This will involve various
decisions on the part of the club executives. Is the bulletin
to serve all of the purposes previously listed, or just some
of them? How much club income can be allocated for
the cost of producing and distributing the news sheet?

Who will contribute material, who will edit it, who will
make it ready for production, and who will see to the
mailing? The club officers can best answer these ques-
tions; for they should know the needs of their members
and their wishes in respect to a club paper.

PUBLICATION PROCESSES

An understanding of the various mechanical processes
for producing news sheets and a knowledge of their costs
are essential in planning and producing any club paper.
Among the processes now in use are the following:

Duplicate typing: The simplest and most inexpensive
way is to typewrite the sheet on very lightweight paper
so that a large number of carbon copies may be made
at one typing. As many as fifteen copies on the manual
typewriter and twenty on the electric machine can be
produced at one time. This method is satisfactory for
small groups.

Mimeographing: Mimeographed sheets are produced
by cutting stencils on the typewriter. Line drawings and
hand lettering are prepared on an illuminated drawing
scope with a stylus to stencilize the image into the stencil
sheet. The cost of commercial mimeographing is about
$12.50 for 250 copies on four pages, $7.00 for two pages.

Multilith: The multilith process is more modern and
less cumbersome than mimeographing. A multilith plate
in the form of heavyweight paper is used in place of the
stencil and copy is typed directly on it. However, no
sketches can be reproduced by this process. The cost is-
about $14.00 for 250 copies on four pages, $8.00 for two
pages.

Offset lithography: The offset method is very flexible.
The entire copy is photographed and reproduced by offset.
This permits the effective use of line drawings, Benday
sketches and even photographs. The cost is about $18.00
for 250 copies on four pages, $10.00 for two pages.

Letter press: Press printing is the most desirable
method. However, its cost is high and usually well
beyond the means of the average club treasury — un-
less you have an amateur printer among your mem-
bers. Publications issued by club councils are, however,
often printed, since here the expense can be allocated
among the member clubs. [Continued on page 304J

cineHcrat

BULLETIN OF THE AMATEUR MOVIE SOCIETY OF MILWAUKEE

Vol. 13, Mo. 9

MILWAUKEE WISCONSIN

November 8, 1950

LJ, II'.!'. Ill ™

CLOSE-UP,

PBOSOgM

r -i

Vol. 19 No. 5

MBTftOPOLiTAN MOTION PICTURI CLUB

January 1951

VIE WFINDER I SOUTH side

v lvw rirsuc,K\ CINEMA CLUB

tfeiidtnf ■ STANLEY SIMS HI 5-6874

lit Vice fm. ■ GERALD RICHTER ... CO 4-3821 Mmi-hm- „.„.,«., «.*., -,H. ,.-...-

OSCA1 iekman ... K 7-«M ,„, ,„„ „„ „ "J"' j„ „. „„„„, HAMILTON fA«K FIELD HOUSE

Vi?ou, s- w c°™«' No™'1 Bl«"- •* ">«> *'■
CHICAGO 21, ILL.

IUM

AMATEUR CINEMATOGRAPHERS

UotUtj ■ EDWARD CARLSON AB 44569

TtumtT - TED G1ZYN VI 6-756S

VISITORS WELCOME

CINEMA CLUB

Of SAN FRANCISCO
An O, «. nil. lion of <-il„i Ci.. m ■ lo, ,.„k. .,

MASTHEADS of representative .club bulletins from among;
the scores received by ACL club department each month..

291

LINING UP
YOUR TITLES

A wooden board, a steel rule and a handful
of nails take the tedium — and the
guesswork — out of your titling setups

PERCY GOTZ, ACL

IN my experience, there isn't any better way of shooting
titles than the so-called vertical setup. With it. as the
name implies, the camera is positioned to shoot down-
ward along a vertical line which is at right angles to the
surface of the title board. This means that this latter unit
■ — the title board — simply rests on the floor and that your
letters are held on it by the force of gravity.

Very simple indeed — and easy to get at. However, even
that setup does not do away with the chore of lining up
your letters — a task at which I had spent aggravating
hours before evolving the system seen on this page. Per-
haps this problem has bothered you too.

THE MATERIALS NEEDED
In discussing any technical setup it is customary, of
course, to present one's specifications in exact dimen-
sions. For the sake of clarity I and with a nod to tradition )
I shall follow this practice herewith. However, the reader
should realize that the basic system to be outlined may
be adapted to his own titling equipment — depending on
the size of board, size of letters, distance from camera,
etc. With this in mind, the materials needed are :

1 drawing board— 18 by 24 inches
1 steel rule— 24 by Vs by Vi inches
1 handful of thin nails— 1 inch long

PREPARING THE BOARD

Your first move in preparing the board is to determine
and mark down a center line across its 24 inch width.
However, if you will look at the diagram, you will see
that this center line should not be simply at the central
(9 inch) point of the board's 18 inch height. It must be
determined by adding to this true central dimension
(9 inches) a figure representing the width of your steel
rule (y± inch, in my case) and another figure (1 inch, in
my case) which allows for the height of your letters.
Specifically, as you will see, this put the center line in
my design at lO1/! inches from the board's top.

With your center line determined, four vertical lines
are now drawn softly in pencil along each edge of the
board. Although these lines are of differing length, each
one must be bisected equally at the horizontal center line.
Specifically, and reading from the outside edge in, the
lengths of the vertical lines are 12, 9, 7 and 5 inches.

With them sketched in, each line is now divided into
equal units marked off with nails as follows: divide the
12 inch line into 4 units of 3 inches each, resulting in
5 nail positions: divide the 9 inch line into 3 units of 3
inches each, resulting in 4 nail positions : divide the 7 inch
line into 2 units of SYo inches each, resulting in 3 nail
positions: mark off the 5 inch line as one 5 inch unit,
resulting in 2 nail positions.

These operations, of course, are carried on at both edges
of the board, thus providing for the following choice of

titling layouts: 5 lines at 3 inch intervals: 4 lines at 3 inch
intervals: 3 lines at 3% inch intervals, or 2 lines at a
5 inch interval.

These layouts are effected by aligning the steel rule
across the selected nails, positioning the movable letters
flush with the rule's upper edge, and then gently with-
drawing the rule. First, however, some simple calibrations
should be scored on the rule's face.

I began by marking a middle position along the rule's
24 inch length. Working out from it in each direction, I
then cut in light grooves at 1 inch intervals, with each
third inch accented (for easier reference) by a longer
groove. These calibrations are used, of course, in spacing
one's letters evenly across the individual lines. Finally, so
that the rule could be withdrawn smoothly from its nail
rests, I filed off the nail heads where they faced toward
the top of the board. Now. after testing the setup in use,
I can see no reason why you shouldn't cut them off en-
tirely with a pair of pliers.

In actual operation, you will need to provide some
kind of suitable background to cover the unfinished wood
of the drawing board. My system has been to keep this
background changeable, and to that end I secured sev-
eral pieces of colored fabrics — not overlooking a black
one for double exposed titles.

STEEL RULE

DRAWING BOARD

24"

TOP

-5 NAILS AT 3"INTERVALS

-4NAILS AT 3' INTERVALS
-3 NAILS AT 3^" INTERVALS
-2 NAILS AT 5" INTERVAL

^CENTER LINE

-RULE- IN POSITION FOR USE

TITLE CENTERING SYSTEM, in which a spaced rule is aligned across
nails, is plotted above. Setup, above, shows lines at 3Vi" intervals.

Brilliant in Performanc

Cine-Kodak Royal Magazine Camera

Load in 3 seconds — open cover, drop
in a magazine of color or black-and-
white film, close cover . . . shoot. And
you can switch magazines — any time.

Prices include Federal Tax where ap-
plicable and are subject to change with-
out notice. Consult your Kodak dealer.

With a Cine-Kodak Royal in your hands, you
find yourself shooting with the confidence that
superb equipment always gives you. That quality
is immediately apparent in the "feel" of the cam-
era, in the purring of its powerful, long-running
motor, in its ready adaptability to all of your
movie -making needs. The "Royal" weighs less
than three pounds, yet it is built with the precise
mechanism and superb optics that stamp it a truly
outstanding movie camera. It has standard,
"sound," and slow-motion speeds ... intermittent,
continuous, or single frame exposures... finger-tip
16mm. magazine loading. With precise, focusing
Kodak Cine Ektar 25mm. f/1.9 Lens, $181.
With prefocused Kodak Cine Ektanon 25mm.
//2.8 Lens, $166.50. At your Kodak dealer's.

Film at 16, 24, 64, or single frames,
as a long-running motor powers the
"Royal" — and cuts off automatically
when rewinding is needed.

Bright day or dull . . . brilliant beach

or shade ... outdoors, indoors

standard speed or slow motion — this
guide "dials" the exposure to use.

The "Royal's" magnificent Kodak Cine
Ektar Lens has a true exposure range
from f/1.9 to f/22, focuses from infin-
ity way down to 12 inches.

An enclosed, variable power finder
shows the fields of 11 wide-angle and
telephoto accessory lenses . . . incor-
porates close-up parallax indicators.

"Half-forward" on the exposure lever
gives average film runs . . . at "full-
forward," it locks for long runs . . . for
single frames, flick it rearwards.

Brilliant in Results

Kodascope Pageant Sound Projector

One case holds both projector and
speaker. Open the case — the projec-
tor is ready for reel arms . . . the
speaker is ready to plug in.

The f/1.6 lens and powerful lamp pro-
vide sharp, brilliant screenings. And
accessory lenses and lamps enable
you to tailor shows to any requirements.

A built-in Fidelity Control, which fo-
cuses the scanning beam on the sound
track of original film, or of "dupe,"
assures finest sound reproduction.

A whisper or a shout — sound volume
is under ready rein. And through a
phonograph-microphone receptacle,
you can add music or narration.

Good movies become better movies when shown
by the Kodascope Pageant Sound Projector.
Rock-steady screen images, sharp and bright from
edge to edge; quiet operation; tones as clear and
pleasant to the ear as any you've ever heard... all
these qualities are yours to enjoy with the new
"Pageant." For though the "Pageant" weighs
only 33 pounds complete . . . though it's built into
the halves of a carrying case scarcely larger than
an overnight bag . . . this expertly designed sound-
and-silent projector meets the most critical stand-
ards of performance.

For personal silent movies, professionally pro-
duced sound films . . . shows in home, club, or
auditorium — here is the all-purpose 16mm. pro-
jector! And the price — complete — only $400.

Threading is easy along a clearly
marked film path, from reel to reel.
Then project at sound or silent speeds
— a finger tip makes the adjustment.

Image and sound-track areas are
protected all along the way. Maxi-
mum film stability at the scanning
point makes for top sound quality.

EASTMAN KODAK COMPANY

Rochester 4, N. Y.

n J a

294

FIG. 1: General view of author's titling and animation stand
shows single-frame cord in operation. Ladder leads to camera.

FIG. 2: Easy access to camera's viewfinder and operating con-
trols is assured by stand's open design. Here author sets lens.

AN ALL-PURPOSE CAMERA STAND

From simple titles to full-scale animation, the gadget pictured here will do the trick
BENJAMIN B. CROCKER

JUST about any effect you have ever seen on a movie
screen can be yours with a titler and animation
stand such as is pictured on these pages. Despite its
apparent size and complexity, it is simple to build, easy
to use and costs less than $25.00 in materials. With it,
you will be able to turn out title and animation footage
of professional calibre.

The present article, which is the first of a series, de-
scribes the design and construction of the stand. Subse-
quent articles will explain how to use the device for
titles, trick effects, stop-camera work, silhouettes, car-
toons and animation.

PLANNING MAKES PERFECTION
Before outlining the details of its construction, let us
examine first the major features which should be incor-
porated in the design of such a titler and animation
stand. In our estimation, these are as follows:

1. The title area should be horizontal so that the letters,
figures, etc., will be held in place by the force of gravity.

2. The title area should be at table height and right-
side-up with respect to the operator.

3. The titler should provide unobstructed access to the
camera finder and especially to the reflex finder of the
Cine-Special, the Bolex or the Pathe.

4. The titler should provide easy adjustment of the
camera-to-title distance, so that varying title areas may
be covered.

5. The titler should provide a remote control to the
single-frame release of the camera.

6. The title area should permit both back lighting as
well as front lighting, to provide for the greatest possible
variety of effects.

7. The titler should be easily adapted to the effect de-
vices needed to make flip-flops, turn-arounds, scrolls, etc.

8. The titler should be designed for sturdiness com-
bined with a maximum ease of construction.

DESIGNED FOR ACTION

The title stand pictured in Fig. 1 was designed to these
specifications. The title area is horizontal and upright:
with respect to the operator. By climbing the stepladder
at the rear of the stand, perfect access to the camera's
reflex finder can be obtained, as is shown in Fig. 2. The
camera-to-title distance can be easily varied by unscrew-
ing the two wing nuts on the front crossbar. The camera
can then be raised or lowered with little effort due to the
counterbalancing effect of the sash weights.

The single frame release is tripped by the string held
in the operator's hand as shown in Fig. 1, while Fig. 3
shows in detail the pulley arrangements which make this
possible. Due to the strength of the superstructure and
the fact that the release string is kept close to the main
structural members, there is no camera shake when the
release is pulled. Back lighting is obtained from six 75
watt bulbs shining on the white base of the light table as -

295

Photographs by Crocker Film

FIG. 3: Camera mount for a Cine-Kodak Special and the pulleys
for single-frame trip cord are seen above. Camera points down.

shown in Fig. 4. The title area also can be top lighted
by the addition of regular photofloods in floor stands
placed in the positions occupied by the operator and the
stepladder in Fig. 1. Devices for trick effects can be
located in the title area in place of the ground glass
generally used.

Every element of the design has been conceived for
ease of construction. As shown in Fig. 5, straight cuts
have been used exclusively. If a power saw is used, all
the parts can be cut in a couple of hours. In fact, so sim-
ple was the design that I purchased the parts, cut the
wood and assembled the titler all between 9:00 a.m. on
Saturday and 10:00 p.m. on Sunday of the same week-
end! Unless there is need for such speed, however, I
would suggest a more leisurely pace to others.

THE MATERIALS NEEDED
To begin construction of the titler you will need the
following materials and equipment.

QUANTITY

3 sheets

1 sheet

50 ft.

22 lbs.

1 box each

DESCRIPTION
% in. plywood, 3 x 6 ft.
ground glass, 15 by 20 in.
sash cord
sash weights
wall sockets
wall switch
wall pulleys

1 d-28 screw and wing nut, length as required
window sash pulleys
3/a bolts with wing nuts and washers
Va eyebolts and nuts
'i ' j wood screws, nails

The first step in construction is to cut the plywood in
accordance with the dimensions shown in Fig. 5.

BEGIN WITH LIGHT BOX
After all the pieces are prepared, assembly is begun on
the light table. A few nails are used to hold the pieces
together while the box is assembled; then, as soon as the
box has taken shape, it is screwed together with a gener-
ous number of screws (at least two at each joined sur-
face) . The lid of the light box is built out of four straight
pieces of wood held together with tie strips as shown in
Fig. 4. The lid is attached to the light box by a hinge
at the back side. The six bulb sockets are wired in parallel
with each other and in series with the switch. The ground

FIG. 4: Light table, for back lighting and animation, houses
six 75 watt lamps under shielded ground glass for even light.

glass fits within the hole in the lid and rests on a frame
attached to the underside of the lid (see Fig. 4).

The superstructure is assembled next ( see Fig. 5 ) .
Begin with the two vertical T supports, which are con-
structed by screwing the crossbars to the legs. Next, at-
tach the horizontal member running beween the T sup-
ports at their upper end. Do not, however, attach the
superstructure to the light table until you have established
where the camera lens will be in relation to the T supports.
This necessitates building the [Continued on page 301]

FIG. 5: General design and important dimensions of titling-
animation stand are diagrammed above. All cuts are straight.

296

OPEN AND CLOSE YOUR PICTURE, says the author, with your
loveliest long shots to win the interest of your audience.

THE PROGRESSIVE TREATMENT, suggested here in a study of
water power, often begins at end and doubles back to start.

Some principles

of EDITING

EARL CLARK, Director, Associated Screen Studios

FILM EDITING, far from being the routine, mechanical chore it
seems on the surface, may become for the imaginative one of
the most truly creative phases of movie making.
For it is here that order is created out of disorder; aim infused
into aimlessness, and accent impressed upon material which has
been meandering — all in an infinite variety of combinations, but all
as well in accord with a few basic principles of the editing craft.
For there are such principles. And perhaps an analysis of them
may help you as you approach another editing season.

THEME MOST IMPORTANT
The first principle of editing is by far the most important. It is
that every film must possess a single dominant theme or purpose.
This cannot be overemphasized, for a multiple objective, or a theme
that is not clearly stated, tends to confuse the audience. And a con-
fused audience is, all too soon, a disinterested one. Thus, the first
question a film editor should ask of himself is the following: "What
type of theme can I create to hold this material together?" There are,
in general, three basic types.

THREE TYPES OF THEME

The "challenge" or "conflict" type of treatment develops the greatest
interest from a given batch of movie material. Basically, it establishes
a conflict between opposing forces in its opening sequence, develops
this conflict during the body of the film and resolves it at the film's
conclusion.

Although all of the world's great dramatic literature has been
based on the conflict theme, this is no reason why a basically similar
treatment cannot be adapted to simpler, more everyday subjects.
Your boy goes to summer camp, but is weak in swimming. Will he
improve enough to win the treasured cup? Your little girl, wanting
to impress you, tries out a new cake recipe. Will she succeed?

The "progressive" treatment is easier to handle but is somewhat
less interesting. In this simple technique, an article is manufactured
from beginning to end, a journey is made from here to there, or a
building is erected from basement to rooftop. There is no challenge.
It is, rather, a chronological presentation of accomplishment.

Thirdly, the "rhapsodic" treatment consists of holding up for
admiration, wonder or comment a series of unrelated scenes with
a related commentary. Here, imaginative editing joins hands with
imaginative writing, so that the rhapsodic treatment should not
be attempted without some skill at both techniques.

ONE THEME AIDS ANOTHER

Often, in amateur films, one basic theme may be aided by another.
In a vacation trip story, the first sequence might establish a family's
wish to drive to Virginia but indicate a doubt as to such a possibility.
The second sequence might emphasize some of the reasons for their
desire (family looking at travel pamphlets, etc.), while the third
sequence would illustrate the reasons for their doubts (the poor
condition of the family car) .

Thus, in three sequences, a conflict theme — the clash of the desire
with the possibility of fulfillment — has been lightly overlaid on an
essentially progressive theme. The preparation for the trip and the
difficulties encountered en route would provide further sequential
episodes. The last sequence would obviously show "mission accom-
plished."

Such theme development is easy to follow and places no stress

297

16mm. scenes by Associated Screen Studios

Theme, transition and tempo are basic

in the creative craft of editing,
says this veteran 16mm. producer

on the audience. And it could be further enhanced by the familiar
"running gag." Inserts throughout the film showing Papa constantly
checking the tires to see if they will hold up would provide both
humor and a thematic thread. To exploit the gag fully, the tire must
blow out — but not until journey's end, just after Papa has breathed
a final sigh of relief.

TRANSITIONS SHOULD DOVETAIL

Which brings us in due course to the second principle of good
editing. This is that one's planned progressions — from scene to scene
and sequence to sequence — should seem logical, inevitable and effort-
less. To that end there has yet to be devised any long-term improve-
ment over cutting from long shot to medium to closeup — or its
reverse. For in this way we carry our audience from the general
setting to the immediate area and finally to the specific action.

Transitions from sequence to sequence will more likely depend on
other means. Simplest and still best of these is the shrewdly written
subtitle, which looks briefly backward at the sequence it is leaving,
then more fully forward at the sequence it will introduce. Effects
beyond the subtitle, such as the fade out and in, the lap dissolve
and the wipe, also are used in sequence transition. But their lore
is a science in itself and one which (the editor tells me) will be
discussed soon in these pages.

TEMPO THROUGH CUTTING

The third editing fundamental is responsible, more than any other,
for the life, movement or action in a film's footage. This is the con-
scious building of tempo, or change of pace, from point to point
throughout a picture.

To that end, the editor should assure first that his opening and
closing sequences contain the finest photography he has to offer.
For if a film starts and ends well, the audience may overlook some
of the more pedestrian sequences in its middle. During the long
middle part, however, the editor should make every effort to build
individual sequences to high points of effectiveness.

Much of this change of pace, of course, is achieved by simple
variations in the length of scenes. And in this connection the experi-
enced cine editor is often asked the question: "How long should a
scene be?" The answer is variable but positive. "As long as it says
something." Beyond that point, if a scene no longer furthers the
purpose of its sequence, it should be eliminated — regardless of its
beauty.

SCENE LENGTH SUGGESTIONS

There are, however, certain approximate guides which can be
given. (Our references will be to 16mm. footage, so halve them if
you work in 8.) Individual scenes may vary from nine inches (fast
cuts for recapitulation) to five or six feet (pans or tilts) if they
do not cover action which must be worked out. A three foot static
scene is sufficient to open or close a sequence, while two feet would
be the average for non-action scenes. Closeup inserts (a boat whistle
blowing, a hand ringing a doorbell) may often be cut to a foot and
a half, or less.

As these scenes are edited into a sequence, we find that the average
sequence runs around twenty five feet, in which you may have joined
from five to as many as fifteen related scenes. Finally, on a 400
foot reel, your finished film may well be comprised of from ten to
twenty five sequences, depending on its subject matter and whether
the treatment is with narrative or titles. The former, of course, speeds
up transitions, while the latter requires both more careful planning
and the insertion of the decelerating title footage itself.

SCENES OF ACTION, no matter how pictorially effective,
should stay on screen only as long as they advance story.

THE STRAIGHT CUT from medium shot to closeup has yet to
be improved on as a transition device within the sequence.

298

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

B&H news Bel1 & Howell Com-
pany now supplies, at
no extra cost, a new 1 inch //2.5 Comat
lens with all its Auto Load and Auto
Master cameras. This lens is in fixed
focus mounting and at its smallest dia-
phragm opening (//32) it is possible
to get sharp focus on objects as close
as 2 feet, 2 inches. The 1 inch //2.5
Comat lens may also be purchased sep-
arately for $64.95 including federal ex-
cise tax.

Bell & Howell's latest booklet. Tips
on Color Movie Making, is available
from dealers at five cents a copy. Many
helpful suggestions are given on ex-
posure and use of accessory lenses and
film speeds.

Eumig 88 access.

A set of three
filters and
three portrait lenses is announced for
the Eumig 88, Austrian-made 8mm.
camera distributed bv Camera Special-
ty Company, Inc., 50 West 29th Street,
New York 1, N. Y. The filters (for
black and white film) are yellow, red
and green and the portrait lenses are
for use on subjects that are 1, 1-2/3 and
3-1/3 feet from the camera lens. The
entire set of filters and portrait lenses
with the'r attachments will be priced
at $12.50.

8mm. viewer Castle Films an-
nounces a device of
interest to 8mm. camera owners. It is
the Melton Movie Viewer, a hand-

8mm

cranked, daylight film viewer which ac-
cepts a 50 foot roll of 8mm. film, shows
it in normal action, slow motion or stop
motion, and rewinds without unloading.
The price is $4.95.

New GE meter A direct-reading
exposure meter,
named the Mascot because of its small
size, has been introduced by the Meter
and Instrument Department of the Gen-
eral Electric Company. About the size
of a box of safety matches, it weighs
only 2% ounces and has a sturdy case
of plastic.

This meter has a rotating scale with
calibrations covering four film-speed
index numbers (5, 10, 16, 50 ASA) ; all
popular shutter speeds and lens open-
ings are covered, and an additional
scale selector is provided to extend the
range of direct camera settings. The
Mascot is known technically by GE as
the PR-30 meter.

EK multi-speaker A triple

speaker unit
to supplement the Kodak Pageant
sound projector is announced by East-
man Kodak Company, Rochester, N. Y.
Used with the regular speaker of the
sound projector, the multi-speaker unit

CASTLE FILMS calls attention to the Melton
Movie Viewer, a hand-cranked unit accepting
50 feet of 8mm. film for daylight scanning.

THREE-FOR-ONE is Kodak's ratio for well-
rounded sound reproduction as they introduce
Multi-Speaker unit for Pageant sof projector.

allows four speakers to be placed at
widely separated positions to give great-
er flexibility and control in sound re-
production.

Each is an 8 inch speaker mounted in
individual baffles; one has a 35 foot
cord, the other two have 45 foot cords.
The three speakers assembled form a
carrying case which matches the case of
the Pageant. The complete unit weighs
17 pounds and will enclose a 2000 foot
reel.

EK news ^o meet an increasing de-
mand for various types of
motion picture film leader, the Eastman
Kodak Company announces that it will
now supply four different film leaders
in bulk, in both 16mm. and 35mm.
widths. Eastman No. 3 Clear Safety
Leader and Eastman No. 6 Black-and-
White Opaque Safety Leader will be
supplied in 1000 foot lengths. Eastman

GE'S MASCOT METER, designed primarily for
use with color film, has match-box size, 2Vt
ounce weight and reads in f/ stops. $16.95.

No. 6 Green Safety Leader is supplied
in the maximum length of 800 feet,
while Kodak White Leader (formerly
known as Customers' Leader) is avail-
able in 50 foot reels of 8mm. and 100
foot reels in the 16mm. width. It is also
offered in 1000 foot lengths of 16mm.

A completely revised edition of the
Kodak Data Book, Infrared and Ultra-
violet Photography has just been issued.
It is available at photo dealers for 35
cents.

Kodak benefits to employees leaving
for military service include payment of
four weeks salary if the person has been
employed over a year with the com-
pany, and two weeks salary if employed
between six months and a year.

Late releases

■ Celluloid College, the popular instruc-
tional series on basic motion picture
techniques, especially valuable to ama-
teur filmers and movie clubs, is distrib-
uted by Sterling Films, 316 West 57th
Street, New York 19, N. Y. Prices range
from $89.50 for the complete four-reel
16mm. SOF series to $5.50 for the con-
densed (200 foot) 8mm. version.

■ Children of the Alps, one reel, black
and white, 16mm. sound, is a new release
of Encyclopaedia Britannica Films, Inc.,
1150 Wilmette Avenue, Wilmette, 111.
The film dramatizes typical events in the
life of a Swiss mountain family, follow-
ing the children as they help their par-
ents in the winter work at the farm and
sawmill, at school and playing. Henri
Rueter produced the film in Switzerland,
and Walter Baumgartner provides a suit-
able musical score. This reel is meant
to supplement the Children of Switzer-
land, forming a part of the EBF series,
Children of Many Lands.

MOVIE MAKERS

299

ClOSeupS— What filmers are doing

y\ ssociated Cinematographers of De-
troit is the professional nom-de-camera
taken recently by three members of the
Detroit Cinema Club, ACL, as they es-
tablished a 16mm. producing unit in
the Motor City. Comprising the group
are W. Carl Brame, ACL, Steven J.
Bubel and Adrian J. Lustig, ACL.

The three have just completed the
first of a series of fine-art films for the
Detroit Institute of Arts, entitled Ven-
ice in the 18th Century and scheduled
for fall release. The production runs
ten and one half minutes of 16mm.
color-sound and is based on the mu-
seum's collection of paintings, furni-
ture, textiles and puppets made in Ven-
ice during the years 1700 to 1800.

A few of the technical problems
overcome were the possibilities of the
flood lights fading the colors in the
textiles and the intense heat of the
lights blistering the paintings. Head-on
zooms and parallel zooms, made both
via single-frame exposures and on a
tracked dolly, were among the camera
techniques employed to impart move-
ment to the still subjects.

Robert Zilmer, ACL, of Milwaukee
and now doing duty with the Army,
writes us the good news that he has
been promoted to sergeant. While mili-
tary life apparently hasn't changed
much since we knew it, Zilmer does less
griping than anyone we know. He must
have found a home ... or is it the fact
that his off hours are spent with his
movie camera?

Our much traveled Italian-American
member, George Favalli, ACL, stopped
by to see us the other day. having re-
cently returned from an annual visit to
his native Italy. He regaled us with
stories of the wonderful reception and
hospitality extended him by Cine Club
ICAL-Milano, ACL, and its officers,
Achille de Francesco, ACL, and A.
Zucca. He said the club is always de-
lighted to welcome visitors from other

Giancolombo

GEORGE FAVALLI, ACL, left, of New York, is
welcomed by Achiile de Francesco, ACL, foun-
der president of the Cine Club ICAL-Milano,
ACL, and Vasco Guerzoni, treasurer, during
Favalli's visit to the Italian metropolis.

countries, but members have voiced a
strong hope that future visitors will
bring with them at least one reel of
film to show.

Two other travel filmers- who took
time out to call on us here were Felix
Couch, ACL, of Garden City, Mich.,
and Dr. R. E. Biber, ACL, of Spartan-
burg, S. C. Mr. Couch, a member of
Detroit's Northwest Cine Club, was in-
tent on recording the highlights of New
York City, while Dr. Biber was headed
farther afield to Nova Scotia.

One of our far-flung correspondents,
Capt. Carroll M. Newstrom, ACL, left
Tokyo with his family the latter part of
July for his first, visit home in forty one
months. He has been on duty with the
U.S. Air Force in Korea during the past
year flying supplies and wounded evacu-
ees. One brief encounter some months
ago hospitalized him for a time, during
which he spent his waking hours dream-
ing up new cine ideas. We will be
anxious to see some of his film work
done out there when he calls on us in
the near future.

The first camera Gus A. Brumer, jr.,
ACL, bought some twenty five years ago
was hand-cranked and had to be used
on a tripod. Since his home then and
now was in Clinton, Iowa, it seems like-
ly that this camera was a Victor Model
1, manufactured by the Victor Animato-
graph Corporation in nearby Daven-
port.

In any case, it was with this camera
that he brought to his neighbors in
Clinton their first glimpse of home
movies — parades, weddings, outdoor
sports and, with the coming of super-
sensitive film, indoor sports under arti-
ficial light. His screenings must have
been a success. For within a few years
Mr. Brumer added movie cameras and
allied equipment as a sideline to his
established retail jewelry business.
From this he went on to pioneer the
use of visual aids in the city's schools,
colleges, churches, clubs and factories.

In his personal filming, Mr. B. has
compiled over the years fifty one 400
foot reels of 16mm. pictures. Aside
from a quarter-century-long birthday
record of his daughter (now married),
his favorite filming subjects are birds,
animals and other forms of small wild
life. His allied hobbies are stereo slides,
camping and fishing. He has been a
member of the ACL since 1931 and has
a complete file of Movie Makers since
that date.

In reply to our request for a personal
snapshot, Mr. Brumer replied: "I am now
62 years old. If I were only 32 I would
send you my picture. As it is, it seems
better to send you my best regards and
good wishes for the old ACL."

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300

SEPTEMBER 1951

\16mm&8mm

1 7%otto*t 'PictcvteS&wice

16 mm Reduced to 8 mm
8 mm Enlarged to 1 6 mm

16 mm Duplicates
8 mm Duplicates

Color and Black and White

35 mm slide duplicates
and film strip service

GEO. W. COLBURN
LABORATORY, INC.

164 North Waclcer Drive, Chicago 6, Illinois

R. S. V. P.

WITH A WINNER!

HOW SELECTIONS ARE MADE

The Ten Best selections are made
by the trained staff of the Amateur
Cinema League, men who see and eval-
uate more than a quarter million feet
of film each year. The selections are
not limited to League members — any
amateur filmer, anywhere in the world,
may compete. The judges seek for sin-
cerity— sincerity of camera work, film
planning, editing, titling and, above all,
creative movie imagination. Any fine film
can win. This year, it may be your film!

SEND YOUR FILM NOW

An entry blank and the rules govern-
ing the ACL Ten Best contest will be
found on the inside front cover of this
issue. Plan to answer the ACL's Ten
Best invitation

WITH A WINNER!

Exposure by slide rule

[Continued from page 287]

we are reading on, we again refer our
meter findings to the table on the back
of the slide rule. Here, on the last line
of this table (Reflected Reading Less
Than Incident Reading), we find that
we are reading on a subject of dark
tone. What exposure correction this
may call for is now determined on the
face of the slide rule.

As follows: Take either of the two
meter readings and set it up on the
slide in the single window at left. As a
start we'll take the reflected reading
of //4. With this set in the left window,
we now read from "Reflected Meter —
Dark Colored Subject" (at the bottom
of the rule) and find that 1 to 2 stops
less exposure is called for than the
meter indicated. Further, the slide rule
tells us what these stops are: //8 for a
2-stop correction; //5.6 for only 1 stop,
or f/1 if we wish a correction averag-
ing these two apertures.

These findings may be swiftly and
easily checked by reference to the in-
cident meter reading — //8. Setting it
in the left window, we now read from
"Incident Meter — Dark Colored Sub-
ject" and find that V2 stop more ex-
posure is called for than the incident
meter indicated. Specifically, the slide
rule tells us to use an aperture of //7 —
thus checking exactly with the average
reflected meter correction.

LIGHT COLORED SUBJECT

To round out our tests, let's now take
a pair of readings on what looks to be a
light colored subject. The results: //16
on the reflected meter; //8 on the in-
cident meter. Referring these figures to
the back of the slide rule, we find in-
deed that we are dealing with a light
colored subject (Reflected Reading
More Than Incident Reading).

To determine the exposure correc-
tion, we now run through the routine
on the face of the slide rule: f/16, the
reflected reading, set in the left window
indicates the need (under "Reflected
Meter — Light Colored Subject") for
1 to 2 stops more exposure than the
meter calls for. Specifically, the slide
rule tells us to open up to //8 for a
2-stop correction; //ll for a 1-stop
correction, or //10 for an averaged cor-
rection. This, too, checks out exactly
with the incident light reading (//8) ,
since that figure set in the left window
indicates (under "Incident Meter —
Light Colored Subject") the need for
V2 stop less exposure than the meter
said — or //10.

All things considered, it has taken
me far longer to tell you how to use this
slide rule calculator than it will take
you to use it. But in closing let me em-
phasize two points.

(1) There is no need at all for you
to own and use both types of exposure

meters; if you have only the reflected
light type, use it as such in reading
directly on the subject, then use it for
incident light results by reading on a
gray card or with an incident-light
adapter.

(2) There is not always a need even
for taking these two readings. If your
subject is obviously light or obviously
dark in tone, you may determine your
exposure correction immediately on the
face of the slide rule by plotting out a
reflected light reading only.

Magnetic sound now!

[Continued from page 289]

sound projector at a relatively high
price, running 16mm. film only, at 24
frames per second only, and on single-
perforation stock only. This last neces-
sity will be, perhaps, the most difficult
for the amateur to face. For because
of it, if he is to enjoy magnetic sound
on film, he must accept the increased
costs of a single-perforation duplicate
and the decreased color and image
quality involved therein.

Reeves' technicians, however, have al-
ready evolved an ingenious but thorough-
ly effective by-pass around this necessity
for duplicating existing double-perfora-
tion picture footage in order to present
it with Magnastripe sound on the RCA
projector. Here's how . . .

Let's say that you wish to record mag-
netically for an existing 400 foot silent
picture. The full 100-mil-wide stripe is
first coated in its standard position, but
along the edge of 400 feet of clear,
single-perforation leader film. This foot-
age and your picture footage are then
wound coil-for-coil on an 800 foot pro-
jection reel. Both films — the clear,
striped leader and the silent, edited
picture — are now threaded through the
normal film path of the RCA projector.
After a start mark has been created
with a punch-hole through both films,
the magnetic system is positioned on
"record" and the twin films are run
through as you talk or play your ac-
companiment.

The result: a full-quality magnetic
recording on the clear leader; undi-
minished picture quality from your or-
iginal footage, and accurate synchrony
achieved simply by accurate threading.
The cost : 3% cents a foot for the strip-
ing, 1 cent a foot for the leader for a
total of $18 to score a 400 foot film.

Progress in the magnetic film field,
then, has been only so far, and only so
good. An exciting promise, rather than
immediate, full-scale performance.

But — and we believe this is genuinely
important — true progress there has
been nevertheless. For the RCA-Victor
company, with the positive, purchas-
able existence of its projector, has at
last kicked open the competitive door
in the magnetic film field. Further, the

MOVIE MAKERS

301

Reeves Soundcraft Corporation, in of-
fering prospective equipment manu-
facturers a complete film striping ser-
vice even before it was needed, has
withdrawn a major stumbling block
from the path of new product devel-
opments. Other magnetic licensees
(among whom are Ampro, Bell &
Howell and Revere) must now move
more swiftly in bringing their own
plans and products to completion. This
trend, in fact, is already in evidence.
For, at the same Chicago show where
RCA unveiled their completed mag-
netic "400." the Ampro Corporation
was showing a bench model of their
magnetic projector.

Magnetic sound for the amateur, in
still more compatible forms, seems now
only a question of time. And, as it
does develop, you may be sure that
Movie Makers will report it to you.
— /. W. M.

An all-purpose
camera stand

[Continued from page 295]

camera carriage which consists of four
sides of a rectangular box. After the
sides have been screwed in place the
camera support should be built.

THE CAMERA SUPPORT

The detailed design of the camera sup-
port will depend on the particular cam-
era to be used with the titler. Start by
centering the camera lens midway be-
tween the left and right ends of the
carriage. Next, back the camera up as
far as it will go toward the top of the
carriage. Check to make sure that all
hand cranks, levers, etc.. are unob-
structed and accessible. The Cine-
Special mainspring winder, for exam-
ple, cannot be used if the camera base
is flush with the carriage, and it re-
quires an offset base to operate prop-
erly.

Having established clearance and
centering, you can construct the sup-
port. It is important to provide three
mutually perpendicular contact surfaces
so that the camera can be placed in
only one position. This is easily accom-
plished for the Cine-Special by making
contact surfaces for the base, the left
side and the front (see Fig. 2). Once
the position of the camera in the car-
riage has been established, the fore and
aft location of the superstructure in re-
lation to the light table can be worked
out and these units joined.

SINGLE FRAME AND SASH WEIGHTS

The details of the single frame re-
lease pulley system will vary with the
type of camera used. A simple method
of mounting for use with the Cine-
Special is shown in Fig. 3. The impor-
tant thing to remember is to keep the

release cord close to the superstructure
so that it will not have much leverage
and cannot shake the camera.

The size and location of the sash
weights should next be decided. The
sash weights should just equal the
weight of the carriage plus the camera
and clamp bar, while the sash cords
should be attached to the carriage di-
rectly over the center of gravity of this
combination. The proper mounting
points are easily determined by holding
the carriage, with camera and clamp
bar attached, by one finger at either
end. The position of the fingers in which
the carriage stays level is the correct
one for attaching the sash cords. This is
done by drilling a hole for each screw
eye and bolting it in place.

The remaining construction details
such as addition of legs, sash pulleys,
ventilation holes, etc., are straightfor-
ward and will not be described in de-
tail. After construction is finished, the
inside of the light box should be painted
white and the outside of the titler fin-
ished in any desired enamel.

Next month we will discuss use of
this device in title making, where it
permits the maximum of effect with a
minimum of effort.

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302

SEPTEMBER 1951

Guam calling In a recent letter

from W. Vendeville,
ACL, of the recently organized Guam
Camera Club, ACL, filmers on that dis-
tant atoll expressed a desire to com-
municate with movie makers and ama-
teur film clubs in other parts of the
world. Letters may be addressed to Mr.
Vendeville, Com. Nav. Marianas (Box
27), c/o Fleet Post Office, San Fran-
cisco, Calif. Perhaps some clubs might
want to exchange films with this group.

Lancaster Members of the Ama-
teur Cinema Club of
Lancaster (Pa.), ACL, chose the fol-
lowing officers for the coming season:
William Frey, ACL, president; Fred J.
Ruof, jr., ACL, secretary, and Watson
Kintner, ACL, treasurer.

Detroit Louis R. Tremblay won first
place in the 100 foot uncut
film contest sponsored by the Northwest
Cine Club, ACL, of Detroit. The win-
ning film was Film Without a Name.
Nancy Jo Takes Over, by Angus B.
Diack, ACL, was second prize winner,
and Spring Hiking, by Kenneth P.
Smith, occupied third position. Run-
ners-up were Fun Galore, by J. J.
Thomas; Florida, the Sunshine State,
by Maurice Firth, ACL, and December
25th, by Ralph Rehbine. All films were
on 16mm.

Washington, D. C. William A.

Anderson took
top 16mm. honors in the annual pres-
entation of awards by the Washington
Society of Cinematographers with his
film, Monarch Butterfly Story. In sec-
ond and third places were Richard H.
Parvin, ACL, with Hawaii Today, and
R. Bruce Warden, ACL, with Haloka.
In the 8mm. group, Otto Rasmussen,
ACL, placed first with One Sunday
Afternoon. From Maine to Gaspe, by

William F. Green, and Zoological Fan-
tasy, by Temple R. Jarrell, ACL, were
in second and third places.

New WSC officers for the coming
season are Harrison F. Houghton,
ACL, president; C. F. Wheatley and
H. B. Owens, vicepresidents; R. H.
Parvin, ACL, secretary-treasurer, and
Charlotte Marr and Hazelle M. John-
son, assistants. T. H. Sarchin, ACL,
A. B. Thaw and E. A. R Searl, ACL,
are directors.

Cincinnati The August meeting of
the Cincinnati Movie
Club was devoted to an illustrated lec-
ture and demonstration of stereo slide
technique. Polaroid viewing glasses
were distributed to members. Harold
Stout projected his stereo slides taken
on a trip through Florida. Charles Aus-
tin demonstrated his attachment which
permits use of single lens cameras for
stereo purposes.

The club's September meeting will
be given over to the subjects of titling
and editing. Films will be used to illus-
trate the discussions.

BEST BOOTH at recent Associated Amateur
Cinema Clubs convention in Chicago was that
of Calumet, announces Lou Adams, chairman.

RUSSELL C. DUNCAN, ACL, president of the
Minneapolis Cine Club, ACL, checks starting
time with James Brown at the projector as
the club's 1951 Spring Show gets under way.

Chicaqo A recent letter from Mar-
garet E. Conneely, ACL,
publicity chairman of Associated Ama-
teur Cinema Clubs, in Chicago, an-
nounced the winners in this year's
major contest sponsored by Metro
Movie Club. ACL, of River Park. The
Arthur H. Elliott Award went to Wil-
liam E. Ziemer, outgoing club presi-
dent, for his 16mm. SOF production,
Vacation Gateways. Mr. Elliott, new
Metro president, was on hand at the
group's annual banquet to make the
presentation.

Other winners follow: second prize,
sound division, Niagara Story, by Carl
Frazier, ACL; first and second prizes,
general division, 16mm., From This

ARTHUR H. ELLIOTT, ACL, at left, president
of the Metro Movie Club of River Park, in
Chicago, presents the annual Elliott Award
to William Ziemer, club's top filmer in '51.

Day Forward, by Othon Goetz, ACL,
and Wanderlust, by Albert Pickell;
first and second prizes, general division,
8mm., Wanted — A Grandmother, by
Miss Conneely, and Key West, by Lewis
Ultsch.

Cannes Flourishing in France is
the Cine-Club de Cannes,
ACL, which was established in 1946
and now has 200 members. The group
meets on second and fourth Thursdays
in its own quarters at the Martinez
Hotel, on Blvd. de la Croisette, where
filmers traveling in southern France
are urged to visit, use the club's tech-
nical facilities and exchange ideas. Be-
sides organizing the annual Festival of
Amateur Films (see Clubs, Movie
Makers, July), the group produces
documentary films in black and white
for the Municipality of Cannes and for
the local Tourist Bureau.

Dallas 8#S The midsummer session
of the Dallas 8mm.
Club, ACL, was devoted to titling tech-
niques. Members brought their films
with them to the meeting, and experi-
enced title makers shot lead and end
titles to go with the various films, thus
demonstrating correct titling procedure.
0. F. Switzer was in charge of the
demonstration.

India During the past few months
we have been receiving copies
of the AC SI Newsletter, official publi-
cation of the Amateur Cine Society of
India, ACL. with headquarters in Bom-
bay. Current president of the group is
M. P. Poison, ACL, who succeeds J. N.
Unwalla, Honorable Mention winner
among the Ten Best of 1949 with One
Dinar More.

The society held its fourteenth an-
nual General Meeting a few months

MOVIE MAKERS

303

LONG ISLAND CINE CLUB, ACL, gathers round
the sound projector. Seen (I. to r.) are Edward
Reinsert, ACL, Solomon Stein, ACL, Harry Wool-
nough, ACL, M. W. Obermiller, ACL, and
Arthur Gustafson, ACL.

back, at which time the principal topic
of conversation was the acute shortage
of 8mm. and 16mm. raw stock in India.
C. D. Jefferies gave a talk on his trip
to England and visits with the cine
societies there, and Mr. Poison followed
with a documentary film from his per-
sonal collection, Masterpieces of the
Louvre and Impressionist Museum.

St. LOUIS The May program of the
Amateur Motion Picture
Club of St. Louis, ACL, included the
following films: Hawaii, by E. J. Baum-
berger; Flying Through Central Amer-
ica, by Gretchen Ganschinietz ; Yuleogy,
by Werner Henze; Soap Box Derby,
by John Knibb; Bermuda, by Ruth
Pankau; Guatemala Holiday, by May
Pieper, and Christmas of 1950, by I. L.
Albert.

Schenectady Leo Schaab, ACL,
replaced Lewis B.
Sebring, ACL, as chairman of the Movie
Group, Schenectady (N. Y.) Photo-
graphic Society, ACL, in a recent elec-
tion. Members were to screen their
own films at the society's final meeting
for the season.

L. I. winners Solomon Stein, ACL,
won top honors in
the recent contest sponsored by the
Long Island (N. Y.) Cine Club, ACL,
with his film, Mexican Holiday. Al
Renick placed second with an old
fashioned mellerdrammer, My Hero.

In third place was Holiday in Mexico,
by Leo Piette. Runners-up were Beau-
tiful Lake Minneivaska, by M. W. Ober-
miller, ACL, and Niagara Falls Honey-
moon, by Harry B. Woolnough, ACL.

New club officers elected to serve for
the coming year are headed by Mr.
Piette as president and Charles Rose,
vicepresident. Other officers are Ed
Remsen, ACL, treasurer; Mr. Wool-
nough, recording secretary, and Carolyn
Traver, corresponding secretary. Ar-
thur Gustavson, ACL, Harmon Traver
and Mr. Stein are directors.

Kalamazoo The Kalamazoo
(Mich.) Movie Club,
ACL, awarded first prize in its recent
contest to Seeing Red, produced by
one of three competing groups within
the club. The winning group was
headed by Harold Buskirk with Orlo
Swoap as the cameraman. A Short Tale,
the second place winner, was produced
under the direction of Stanley Stevens,
with Lawrence Cross behind the cam-
era. The third place winner was The
Uniformed Solution. The producing
group was headed by Donald Camp-
bell, who was also photographer. Eber
Fitch edited the footage.

Toft elects Terry Manos, ACL,
president, heads the
list of officers to direct the activities of
the Taft Cinema Club, ACL, of The
Bronx, N. Y. C, for the new year.
Irene Brand retains her position as sec-
retary, while Max Lipper has been
chosen treasurer. George Schanfein,
Bill Moss and Paul Maslin are on the
board of directors.

New York 8's Before the sum-
mer recess, mem-
bers of the New York City 8mm. Mo-
tion Picture Club enjoyed a varied
program of members' and visitors'
films. Ernest H. Kremer, ACL, pre-
sented a return engagement of his 1944
Honorable Mention winner, The Silent
Alarm. Markley L. Pepper, ACL, on
from Denver, showed his coverage of a
Denver city park, Colorado Landscape.

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304

SEPTEMBER 1951

Other films on the show were Red Skis,
by Ann Meuer, and a short on the New
York City MacArthur parade, filmed
by Ed Roesken.

Oklahoma Dr- Kurt Von Wedel

was host at his country
home to members of the Movie Makers
Club of Oklahoma City. The program
was made up of pictures filmed by Dr.
Von Wedel in India last year. The club's
annual outing will be held this month
at the John Varnells' home, weather
permitting.

New in MaSS. Under the active
leadership of Mrs.
Stanley E. Brackett, ACL, a new club
is being formed in the environs of Bos-
ton. The suburban areas of Cambridge,
Milton, Quincy, West Roxbury, Wey-
mouth and Braintree are represented
in the present membership of twenty.
Other filmers in these sections inter-
ested in the group and its activities are
asked to write Mrs. Brackett, temporary
secretary, at 62 French Avenue, South
Braintree, Mass.

Annual Gala The annual Gala
Night of the Chi-
cago Cinema Club, ACL, featured live
entertainment (not specified) furnished
by the Edison Club, and presentation
of The Gannets, 1950 Maxim Award
winner by Warren A. Levett, ACL, fur-
nished by the ACL Club Film Library.
The Ben Miller Cups were presented
for the best films screened for the club
during the past year. Michael Fortino
received an award for Adventure in
Guatemala and Al and Charlotte Rus
were similarly honored for their 8mm.
production, Assignment Northwest. A
six foot papier-mache "Oscar" enlivened
the proceedings as the award for the
worst film of the year, bestowed in good

fun upon Frank Bronwell.

New in Italy Cine Club Piemonte-
Torino is the name
of a new amateur film group in Turin,
Italy, associated with the Italian Cine
Club Federation. Filmers traveling in
Italy will find a warm welcome in Turin,
as we have been so advised by Antonio
Bozzini, ACL. The address may be ob-
tained from the League's consulting
department.

Officers of the club are Dr. Felice
Nebiolo, president; Rag. Livio Fusco,
vicepresident ; Colonel Franco Idalgi,
secretary, and Sig. P. E. Montanaro,
treasurer.

Oak Ridge

An air conditioned
meeting place having
been obtained, the Oak Ridge (Tenn.)
Cinema Club, ACL, has continued its
sessions through the summer. It holds
its meetings in the Theatre of the
Atom, American Museum of Atomic
Energy. A feature of the summer was

the illustrated lecture on high speed
movie techniques given by S. A.
Hluchan, Oak Ridge development engi-
neer. The camera used, a Western
Electric Fastex, is capable of exposures
up to 10,000 frames per second.

A vacation reel on New York City
shot by member Bill Wolkowitz was
screened, as were two films from the
ACL Club Film Library, Motion, by
Henry E. Hird, FACL, and Meter with
a Memory, produced by the General
Electric Company.

Club OUting Members of the Cin-
cinnati Movie Club
held their annual picnic this year at
Pinell Gardens, having an attractive
formal flower garden and private swim-
ming pool to themselves. Filmers
brought their cameras along, naturally,
to record the deluxe proceedings.

L.A. 8#S The ladies of the Los .An-
geles 8mm. Club, ACL,
held their own contest recently, letting
men (outside the club) perform as
judges. Catherine Guerrieri won first
place with Bachelor for a Night. Vir-
ginia Browning placed second with A
Modern Elijah, and Sylvia Higgins
third with Tot Takes. Doghouse Daze,
by Marion Dance, received honorable
mention.

Following the contest, A Jump
Ahead of the Parson, by Leonard
Heinz, and Blood Money, by Earl Par-
sons, both of the Southwest 8mm. Club,
were projected.

New in III. Cine enthusiasts of El-
gin, 111., have formed
a club known as the Fox Valley Movie
Club. Blaney Blay, ACL, is president,
with George Underhill as vicepresident
and Fred Haacker secretary. Walter
Pelletier is treasurer, and the board of
directors includes Clarence Reber, Al
Kuecker and Mrs. J. G. Massey. The
club will welcome filmers in and
around Elgin. They may reach the sec-
retary at 220 Dundee Avenue, Elgin.

A travelog by Mr. Kuecker and a
film on the activities of the Elgin
Sportsmen's Club were screened at the
group's election meeting.

Cincinnati Animadversion Night
is the name given to a
recent program of the Cincinnati Movie
Club in which members' films were
screened and criticized. The following
films were projected: Up East, by Er-
win Downing, ACL, and Mrs. Downing;
Holiday, by Edith Schwartz, and The
Wanderer and Chillblains and Sneezes,
by B. C. Scherzinger, ACL.

Election of officers for the current
year made Mr. Scherzinger president,
with Dr. Joseph Crotty, ACL, and Car-
roll Littell, ACL, as first and second
vicepresidents. Gertrude Hairston, ACL,
continues as secretary. Homer Jones is

the new treasurer. Serving with them
as directors are Mr. Downing, Elmer
Duerigen, Elliott Otte, ACL, and Mr.
Jones.

Brooklyn Bert Seckendorf, ACL,
was chosen president of
the Brooklyn Amateur Cine Club, ACL,
for the forthcoming year in a recent
election. Earl Kaylor is vicepresident
and Mrs. Eugene E. Adams, secretary.
Irving Flaumenhaft, ACL, is treasurer.
The board of directors include Eugene
E. Adams, Charles H. Benjamin, ACL,
Samuel B. Charmatz, Herbert Erles,
ACL, Samuel R. Fass, ACL, Russell F.
Rathbone and Francis S. Sinclaire,
ACL.

East London Frank Cowie won the
Thorvaldsen Floating
Trophy in a competition sponsored by
the East London Cine Club, of South
Africa, for his film, Off the Beaten
Track. Other films entered were Return
Trip to Capetown, by B. S. Adams;
West of the Border, by D. O. Meier;
East London Drought, by club presi-
dent E. E. J. Thorvaldsen, ACL, and
Umgazana Fishing Trip, by H. A.
Atsma, ACL.

Okla. City An early spring pro-
gram of the Movie
Makers Club, ACL, of Oklahoma City,
featured the showing of Canadian
Rockies, by H. A. Houston, ACL, who
also gave a talk on pictorial composi-
tion in conjunction with the film.

The club's annual banquet was held
last month, but details were not known
at press time. The banquet committee
included Mrs. Clifton Gall, Mrs. George
Bender, ACL, and Ed Jensen, ACL.

Rochester Don Hutchinson, of
Bruce Aldon Associates,
was guest speaker at a recent meeting
of the 8mm. Movie Club of Rochester,
N. Y. His subject was commercial film-
ing. A sound film, University of Roches-
ter, was screened in illustration of his
talk. Also screened were Russian Easter,
by George Serebrykoff, Nite Life in
New York City and Rodeo, producers
of the two latter not being named.

Attention:
embryo editors!

[Continued from page 290]

THE BULLETIN STAFF
Thought now must be given to the
selection of the staff. Small clubs of
twenty or so can be very adequately
served by a single editor. He will gath-
er the news, prepare the material, have
it reproduced and see that each member
receives a copy. Larger clubs, issuing
four page bulletins, find it advisable to
divide these duties among several mem-

MOVIE MAKERS

305

bers comprising an editorial staff. The
editor-in-chief will have overall charge
and will select assistants as needed. One
will write up the programs, another will
conduct a "'chatter" or "personal" col-
umn. A third will gather general news
of interest. Still another will have the
responsibility of setting up copy for re-
production, of sending it to the letter
shop, and finally arranging for the bul-
letin mailing. Clubs with a membership
of over 150 often have this final opera-
tion handled by the shop which pro-
duced the bulletin.

NAMES MAKE NEWS

The members of the editorial staff
need not be experienced writers. But
they should, if possible, have a flair for
writing and they certainly should be
willing to learn. First, last and always
they should be told that the basic func-
tion of a news bulletin is to present
news. And, since names make news,
these names must be accurately and
fully reported, both for people and for
pictures. They should remember that
their club bulletin is to serve not only
their own members but also the editors
of hobby publications who must re-re-
port their club activities from their news
columns. Therefore, the "Bills, Bobs.
Marys and Bettys" should be confined
to the chit-chat or personal column. All
other reporting should be straightfor-
ward, impersonal, complete and accu-
rate.

Overall, a masthead should be de-
signed which will capture the fancy of
the readers and become the visual sig-
nature of your publication. This will
carry the name of the bulletin, the
club's name, the current volume and
number, date of issue and other perti-
nent information. A few such mastheads
appear in our illustration. Often, re-
gardless of the method used in repro-
ducing body copy, your bulletin mast-
head may be press printed from type or
from a standing line cut. This makes for
sharpness and clarity.

In the preparation of body copy ev-
ery possible care also should be taken.
The spacing must be studied, the layout
of the sketches made pleasing, and ade-
quate paragraphing allowed to make it
readily legible. The ribbon used in the
typewriter should be fresh to assure
sharp imprints. So also should be the
carbon papers needed in making fifteen
or more copies at one time. The proper
weight and finish of the carbon paper
are important in heavy manifolding.
The local stationer should be helpful in
selecting the kind required for a spe-
cific objective.

Representative club bulletins from all
over the world are received regularly
by ACL headquarters. Present and
prospective club editors, interested in
studying them, may receive back copies
on request to the Club Consultant, c/o
Movie Makers.

The reproduction
of sound: 4

[Continued from page 288]

while its speed past the scanning head
has varied — thus increasing or decreas-
ing the storage capacity of the record-
ing in question.

PRESENT TAPE SPEEDS

The first tape recordings were made
at a speed past the head of 30 inches
per second. Within a few years, satis-
factory results of professional quality
were attained at 15 inches per second.
Three tape speeds are now available
on the market, and they may be classi-
fied for use about as are the three film
widths, namely: 15 inches per second
for professional use (compares to 35mm.
film) ; 7% inches per second for semi-
professional and advanced amateur use
(compares to 16mm. film), and 3%
inches per second for home use (com-
pares to 8mm. film).

(The 7V2 and 3% inch speeds also
are available in dual-track, a system
of registration similar to 8mm. pic-
ture making. With it, a recording is
made on one half of the % inch width
in one direction, then the spool is in-
verted and a recording is made on the
tape's other half. The completed tape
is not split, however.)

All 15 inch professional recorders
will produce a flat frequency response
curve within ±2 db up to 15.000 cps.
Good TY2 inch recorders go up to 9,000
cps ±3 db as an average. In order to
register 9 or 10,000 cps at 7Vk inches
per second, an extremely small gap
width is required, as well as careful
equalization, which, if done properly,
is expensive. The trend of attaining
professional quality at 7V2 inches is
not too strong, mostly because program
material is recorded on tape for editing
and re-recording rather than for storage.
A speed of 15 inches per second is
just right for that purpose.

However, one leading manufacturer,
Ampex, came out with a portable two-
speed, dual track recorder ($925).
which has a frequency response flat to
10,000 cps ±2 db at 7y2 inches, and
±4 db to 15.000 cps. At a speed of 3%
inches, a frequency response up to 5-
6000 cps is possible. Here, the sound
quality compares to that of an AM
radio, while FM quality should be ob-
tained at the 7% and 15 inch speeds.
This requires, of course, an amplifier
and loudspeaker system that passes
this range without distortions.

What do we lose when we record
dual track? Although the storage capa-
city is reduced to one half, we lose
only some decibels in signal-to-noise
ratio, nothing in frequency response.
Presently, 3% inch tape recorder manu-
facturers claim a signal-to-noise ratio

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306

SEPTEMBER 1951

PEOPLE, PLACES AND PICTURES

WE RATHER pride ourselves, here at Movie
Makers, on the news coverage we manage
to give to amateur movie club affairs. Take
our August issue, for example.

Under the Clubs heading we devoted 66 inches of
space (there are 30 inches on a page), in which we
reported fully (and we trust accurately) on the ac-
tivities of 22 different clubs. Illustrating these items
we ran four separate photographs, wherein at least 29
persons were identifiably imaged. All told, the num-
ber of people, places and pictures we mentioned
comes to . . . well, we keep losing count.

We are prompted to this possibly immodest resume
of our reporting by this month's article — Attention:
Embryo Editors! For in it our author has quite rightly
cited the primary precept of all journalism: "Names
Make News!" In this connection it is generally added
that each name in the news makes a happy reader — a
reaction which all of us understand, whether we are
the name reader or the name writer. For by pleasing
you, we get as much pleasure from putting your
name in print as you get from reading it.

But our crystal ball has long since broken. Our

mind reader resigned last year to write a Washington
newsletter, and the rest of us gave up guessing games
along with knee pants. In other words — No Names,
No News! To be more specific, what we are trying
to say is that if your club bulletin editor doesn't re-
port your name (your whole name, that is!) in your
club news columns, we cannot, we regret to say,
re-report it in ours.

We have made this point before a couple of years
ago. And we have no wish to wear it thin by our own
wrangling. We shall close, therefore, with a simple,
representative (and only slightly rewritten) quote
from a current club "news" bulletin:

"Despite a hot and humid welcome from 'Old Sol,'
our July meeting was graced with a goodly gathering
of 'shittter bugs' 'Present were many familiar faces
among our regular 'flicker fans' as well as a few re-
cently not so regular — Ah, there, Chuck, Hazel,
Happy and Red! The program was of the usual high
quality, however, and our hard-working program
chairman should be congratulated. So, congrats, Bill!
We enjoyed every minute of it."

— End of news note.

THE amateur cinema league, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

Ralph E. Gray, Vicepresident
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE., NEW YORK 17, N. Y., U. S. A.

better than — 40 db. This compares fa-
vorably to the average — -30 db of 16mm.
sound tracks or 78 rpm records. It is
interesting to note that Ampex in their
model 400, which was mentioned before,
offer — 55 db for 7*/k and 15 inch
speeds, which is- remarkable.

OTHER FACTORS

The gap alignment and physical con-
tact of the head with the tape is a
matter of design and maintenance.
When a tape recorder starts to drop
in frequency response, there is a good
chance that misalignment of the gap or
accumulation of dirt at the gap are the
reasons. Magnetic heads should be
cleaned often with acetone or carbon
tetrachloride. Deposits of tape will
clog up the gap and press it away from
the tape. The volume level drops and
the frequency response drops even
more.

The bias is a high frequency signal
of about 30 to 50 kilocycles (50,000
cps) which is mixed with the signal
in order to counteract an inherent char-
acteristic of magnetic recording. By the

way, this same signal is used to erase
previously recorded material on the
tape. The equalization consists of a pre-
equalization and a post-equalization.
When recording, the highs are boosted
so that they do not get lost in the back-
ground noise. In reproduction, the
signal is balanced to give a flat res-
ponse. The same procedure is employed
in disc and optical recording.

RECORDING LEVEL

The correct recording level is the
only factor the operator has to watch
for. It is very important to keep the
recording volume at a prescribed level.
Either neon bulbs, magic eyes or VU
(volume units) meters are used to
control the input level. Neon bulbs are
connected in such a manner that they
nicker at peak sounds. These peaks,
however, may already overload the tape.
The magic eye has the advantage over

the neon bulb in that the constant level
can be observed together with the
peaks. A VU meter is used in all pro-
fessional work where a common ref-
erence of definite magnitude is required.

Overloaded tape has the tendency to
produce echos on the adjacent layers,
especially if the tape is stored in a
warm place. Overloaded tape is hard
to erase and always distorted. It is like
overexposed film — no good. Your vol-
ume indicator can be compared to the
light meter. Just as film has to be ex-
posed to a more or less constant level
of light intensity with variations within
a certain range, so tape should be re-
corded within a certain range (the dyn-
amic range) of variation of the signal.
As a guide to this, the VU meter has
become a standard instrument in the
radio, telephone and sound recording
industry.

(In The Reproduction of Sound: 5,
the final installment in this series, the
author will itemize and discuss speci-
fic qualities to be checked in selecting
a magnetic tape recorder. Look for it
in an early issue.— The Editors.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS - the ACL#s fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 23 years.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

9-51
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

Name .

Street.

I City,

Zone.

_State_

camera. . .

Gene and Charlie Jones, NBC-TV's famous twin team, examine one of their Bell & Howell "70" cameras in a Korean forward area.

NBC's newsreel men prove B&H cameras under fire

In the thick of the Korean action from the very begin-
ning, the Jones Brothers have sent NBC-TV some of
the finest War pictures ever filmed, including many ex-
clusives. These movies were filmed under exceedingly
tough and dangerous conditions. In fact, when Gene
Jones was wounded in the chest at the Inchon invasion,
he had to inch his way back to the beachhead through
hundreds of yards of severe fire . . . protecting the pre-

Features of the New B&H 70-DL

3 -Lens Turret Head for instant lens change;
Critical Facuser permits precise focusing
through the lens; Viewfinder Turret rotates
positive viewfinder objectives to match lenses
on lens turret; Powerful Spring Motor operates
22 feet of film on one winding . . . maintains
speed accurately throughout film run; Hand
Crank for short double exposures, other trick
effects and unlimited film run; 7 Film Speeds
include 8. 12, 16 (normal), 24 (sound), 32, 48 and
64 (true slow motion) frames per second; Film
Plane Mark for accurate focusing measure-
ment; Parallax Adjustment corrects from in-
finity to 3 feet; Eyepiece focuses for individual
sight variations . . . increases illumination to
the eye up to 600%. Complete with 1" f/1.9 lens
only, $369.95.

Price subject to change without notice

You buy for life

when you buy

cious film in his B&H "70" for NBC-TV News Caravan
viewers.

Here's what the Jones Twins say about their Bell &
Howell Cameras in a letter to Robert McCormick of
NBC : "... We try to ship or shoot 500 feet per day. The
Bell & Howell is a rugged little camera. Both of ours
have been damaged in combat . . . but we've managed
to have them repaired by Signal Corps people."

The Bell & Howell "70" camera is indeed a
"rugged" camera. But that isn't the only reason why it
is the favorite of professionals and ambitious amateurs.
This camera is designed to make the highest quality
movies, yet can be carried anywhere . . . either hand
held or set up in a matter of seconds to shoot under the
most adverse conditions.

Guaranteed for life. During life of the product, any defect in
workmanship or material will be remedied free (except trans-
portation).

SEE IT AT YOUR CAMERA DEALER TODAY!

Bell &Howell

B 330359

'S\

THE LIBRARY OK

CONGRESS
SERIAL RECORD

DEC 6-1951

COPY _—

THE MAGAZINE FOR

m. & lUmm. FILMERS

MORE ON MAGNETIC • ZOOM TITLES ARE EASY • AIDS FOR ART WORK

So many exclusive features— .
So much engineered value

• Automatic film threading

• Unlimited forward and reverse hand winding

• lime exposure setting

• Single frame setting

• Full frame eye-level focusing

• "Octameter" finder

• "Visifocus" automatic depth of field lenses

As you forge ahead to finer film-
ing, you ultimately demand the
best means to the end. You will
examine your movie camera criti-
cally, with an eye to the cost and
quality of added features. This is the
moment that the proud Bolex owner dis-
covers how economical a well-engineered
camera can be.

Let's take just three of the many ex-
clusive Bolex features— all built-in to Bolex.
Single Frames— simplicity itself to pro-
duce cartoon and animated films with ex-
posures of l/20th or l/25th second. And,
controlled by time-lapse motor, make
photo-analytical films of plant, pupae and
crystal growth.

Time Exposures — outdoor films at night

^===|===P=Sn without added illumi-

v> "' '-^ fastest lens is not fast

Release control panel enough. Cable release

locks over control panel to insure smooth

operation of either instantaneous or time

exposures.

Hand Winding— touch the clutch to dis-
engage the spring motor,
and get unlimited forward
and reverse travel of your
film — all at governor con-
trolled speeds! Make

double exposures, lap dissolves and a host

Hand wind
control, forward

or reverse at any speed.

YET ANOTHER BUILT-IN
BOLEX FEATURE

For magnetic sound-on-film,

the single-claw mechanism,
pioneered and perfected by
Paillard, is built-in on Bolex!!
The only simple modification
on any Bolex H-16 camera is
the installation of single-sprock-
ets. Bolex — the camera for
magnetic sound-on-film.

Clutch control

of professional trick effects with ease, cer-
tainty and at no extra cost!

Dollar for dollar, the Bolex is the finest
equipment of its type, truly — here is Engi-
neered Value.

Your Bolex Dealer will gladly demon-
strate these, and many more features of
the Bolex H-16 and H-8 camera— available
from $244.75 to $318.00, less lenses, no
tax. Kern -Paillard "Visifocus", the ulti-
mate in lenses for H-8 from $58.50: for all
16mm cameras from $78.75 inc. F. E. T.
Bolex owners — receive regular free mailings
of the 25c magazine "Bolex Reporter," by
registering the serial numbers of your
Bolex equipment with us.

Paillard Products, Inc.
265 Madison Ave., Neu> York 16, N. Y.

Model H

1 6mm and 8mm

N'JV 21 1351

MOVIE MAKERS

ill

8MM-16MM PROJECTOR
OWNERS

th CASTLE FILMS

A NEW HOME MOVIE
QUIZ GAME

The North and South Polar regions look alike except
for just one thing! What is it?

One of the most destructive rivers on earth is also
the most holy! What is it?

These are just two samples of the "teasers" you
get in this entertaining film— and the moving hand
of a stop-watch on the screen gives you just five
seconds to think of the answer! (Answers are on
the box.)

Test your friends— offer prizes, lay bets! Stump the
experts with simple facts most everyone lacks! End-
less opportunities to use this home movie for unique
entertainment all ages will enjoy again and again!

"WHERE ON EARTH!"

HEW AMD DIFFERENT MOVIES YOU'LL BE PROUD TO SHOW!

mk fOREAT NEWS

MELTON MOVIE VIEWER

is for cute

ALPHABET ANTICS

Teach 'em their ABC's this way and have
fun! A real novelty in home movies that
•makes every letter of the alphabet
"stand" for something unique, amusing
and memorable to young people while
maintaining a high level of interest for
any adult. Humorous animals, people of
foreign lands and unusual action in pho-
tography from all over the world. A great
children's film that grownups will enjoy
again and again!

ATLANTIC CITY

See the most beautiful girls in the
nation competing for fame and for-
tune in the "Miss America" contest!
See Philadelphia Mummers parade —
see stars of the ice carnival, beach
beauties, amusement piers, deep-sea
fishing — all the variety in entertain-
ment and fun, all the glamour and
thrill of the city by the sea! Own it!

At last you can show your personal 8mm
movies ANYWHERE— TO ANYONE
without a projector! So simple a child can
load and operate it. Holds a 50 ft. reel of 8mm film. Re-
winds without unloading. The perfect gift with a Castle
movie for any youngster. YOU CAN TURN THE
CRANK FOR NORMAL ACTION — SLOW MO-
TION—STOP MOTION.

Ask your photographic dealer for the Melton Movie Viewer.
Distributed by Castle Films. Price, only $4.95

FRESf

Send for Castle Films' New 1951 Deluxe Illus-
trated Catalogue describing great variety of
new and thrilling home movies you can own!

CASTLE FILMS

PRODUCtO BY UNlTED ^QfcVD ™/*S

542 So. Dpnrhnrn S». 1445 Park Ave. 7356 Melrrv

INC.

DON'T DELAY!
SEE YOUR PHOTO
DEALER IMMEDIATELY
OR SEND HANDY ORDER
FORM TODAY'

-ORDER FORM-

Send Castle Films

8rr

im.

16 mm.

indicated in the size
and length checked.

Headline

$195

Complete

$595

Headline

$295

Complete
$975

Sound

'Where On Earth"

Alphabet Antics"

'Atlantic City"

SencL

Melton Movie Viewers at $4.95 Each.

Nome,

I Address-

542 So. Dearborn St. 1445 Park Ave. 7356 Melrose Ave.

Chicago 5, III. New York 29, N. Y. Los Angeles 46, Calif.

C/'ry_

_Zone_

_Sfafe_

Remittance Enclosed Q Ship COD [~] Send me Castle Films'FREE De Luxe Catalog!"!

312

OCTOBER 1951

U. S. Pal. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

- FOR MOVIE OR TELEVISION WORK —

A new six element high quality lens fur the 16 and
35 mm film camera. Corrected for all aberration at
full opening, giving highest definition in black-&<
white and color. Made by skilled technicians with
many years of optical training.

Kitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 16 mm cameras.
Fitting to other camera* upon special order.

Sizes available now : 35 and 50 mm uncoated
and 75 mm coated.

Write for prices, giving your dealer's name.

5=5i GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM-10

THE RALPH R. ENO CORP.

626 W. 165 ST. . NEW YORK
Send your film for free criticism or estimate

\16mm&8mm

i THotcett ^CctuteS&UAccc
I

1 6 mm Reduced to 8 mm
8 mm Enlarged to 1 6 mm

16 mm Duplicates
8 mm Duplicates

Color and Black and White

35 mm slide duplicates
and film strip service

GEO. W. COLBURN
LABORATORY, INC.

164 North Wacker Drive, Chicago 6, Illinois

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

October
1951

The reader writes

Australia reporting!

Art work to order

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